From Russia with Schlock: Martinez’s Derivative Revenge Flick
While there’s certainly a modicum of perverse interest to be satisfied in witnessing the rotund Gerard Depardieu as an ex-con exacting vengeance on a gang of Russian hoods in the type of watered down B-action flick that’s about as originally conceived as the already derivative Liam Neeson franchise Taken (or Pierce Brosnan’s The November Man), Philip Martinez’s Viktor is neither of significant quality nor campy enough to justify its bizarre existence. Depardieu’s well-publicized tax inclined emigration from France to Russia may explain some of how this nonsense came into existence, but Martinez’s workmanlike march through a series of unenthusiastic events makes it seem as if everything was filmed in one, hurried take.
Released from prison after a seven year sentence for stealing a high profile piece of art landed him there, Viktor Lambert (Gerard Depardieu...
While there’s certainly a modicum of perverse interest to be satisfied in witnessing the rotund Gerard Depardieu as an ex-con exacting vengeance on a gang of Russian hoods in the type of watered down B-action flick that’s about as originally conceived as the already derivative Liam Neeson franchise Taken (or Pierce Brosnan’s The November Man), Philip Martinez’s Viktor is neither of significant quality nor campy enough to justify its bizarre existence. Depardieu’s well-publicized tax inclined emigration from France to Russia may explain some of how this nonsense came into existence, but Martinez’s workmanlike march through a series of unenthusiastic events makes it seem as if everything was filmed in one, hurried take.
Released from prison after a seven year sentence for stealing a high profile piece of art landed him there, Viktor Lambert (Gerard Depardieu...
- 11/14/2014
- by Nicholas Bell
- IONCINEMA.com
If World War 2: Behind Closed Doors proves anything, it’s that cable television has little left to say about our most televised war (which is quite an impressive feat, considering how many wars have happened since the advent of television). With the absolute glut of History Channel documentaries about D-day and the bizarre details of Hitler’s personal life out there, Behind Closed Doors doesn’t exactly have its work cut out for it. But even if the program doesn’t greatly alter our understanding of the greatest generation’s war, it does provide some insight into some of less overexposed aspects of the conflict, in particular some of the shady dealings that went on between the Soviet Union, Britain, the United States and even Germany. In short, everyone kind of screwed over Poland.
Opening its narrative at the outbreak of the second world war and taking it all...
Opening its narrative at the outbreak of the second world war and taking it all...
- 5/7/2009
- by Anders Nelson
- JustPressPlay.net
12
Venice International Film Festival
VENICE, Italy -- Sidney Lumet turned Reginald Rose's fine play "12 Angry Men" into a splendid movie in 1957 and it has been revisited on stage and television but never better than in Russian filmmaker Nikita Mikhalkov's triumphant new film version titled simply "12."
Screened in competition at the Venice International Film Festival, the film takes the plot of a dozen jurors having to decide the fate of an accused murderer and expands it into an examination of modern Russia. The essential debate about democratic justice remains, but making the defendant a Chechen youth charged with killing his Russian stepfather permits an illuminating exploration of the post-Soviet era as each juror reveals his background, life choices and prejudices.
Mikhalkov and co-writers Vladimir Moiseenko and Alexandr Novotosky have created a sturdy and intelligent screenplay that alternates humor and stark drama with flashbacks to horrific incidents in war-torn Chechnya. The staging is convincing, the acting is exceptional, and the tension never flags despite the film's 153 minutes.
Prospects are high for worldwide audience interest in a film that demonstrates all the attributes of first-class, grown-up filmed entertainment, and it will probably collect some awards along the way.
Mikhalkov, whose "Burnt by the Sun" won the 1995 Academy Award for best foreign language film, demonstrates a masterful hand behind the camera and also takes the role of a man whose calm efficiency leads the other jurors to accept him readily as chairman.
The film begins with the 12 unnamed men being herded into makeshift quarters next to the court, a school gymnasium with plenty of room but a dodgy electrical system. The two-month long trial is only visited in the dialog between jurors, although that is cleverly enhanced by recreations of elements of the crime.
Witnesses claim to have seen and heard the Chechen youth, who is seen occasionally pacing in his cell, argue with his stepfather and yelling: "I'll kill you." A knife made for hand-to-hand combat and said to be only available in the boy's homeland is also key evidence.
The first vote is 11-1 in favor of conviction. The sole dissent is by an apparently mild-mannered man (Sergei Makovetsky) who says that he thinks there should at least be some discussion. Everyone is keen to make a decision and go home, but he says that he needs to talk about it because a guilty decision will mean the boy is imprisoned for the rest of his life. He agrees to join the majority if everyone else remains in favor provided the next round is a secret ballot.
But then there are two. An elderly Jewish man (Valentin Gaft) votes not guilty because he recalls that the lawyer for the defense looked bored throughout the proceedings and he now thinks it wasn't a fair trial.
Like the original play and Lumet's film but very different in all the particulars, "12" shows how the voting changes as the members of the jury respond to persuasion and react to debate. They range from bigoted Muscovite cab driver (Sergei Garmash) to diffident TV executive (Yuri Stoyanov) to cavalier musician (Michael Efremove).
Expansive use of the enclosed space, well photographed by Vladislav Opeliants, emphasizes the smallness of the defendant's cell and jump-cuts to vicious and extremely well staged firefights ramp up the tension.
On the way to a smartly unexpected climax, the film provides insight into many of the social and historical issues that burden modern Russia but that are hardly unique to that country.
12
Three T Productions
Director: Nikita Mikhalkov;
Writers: Nikita Mikhalkov, Vladimir Moiseenko, Alexandr Novotosky;
Producers: Nikita Mikhalkov, Leonid Vereschagin;
Director of photography: Vladislav Opeliants;
Production designer: Victor Petrov;
Music: Edward Artemiev;
Costume designer: Natalia Dziubenko;
Editors: Andre Rigaut, Vincent Arnardi.
Cast:
Nikita Mihhalkov, Sergei Makovetsky, Sergei Garmash, Michail Efremov, Yuri Stoyanov, Valentin Gaft, Aleksei Petrenko, Sergei Gazarov; Viktor Verzhbitsky, Alexei Gorbunov; Roman Mayanov; SergeiArtsybashev, Aleksandr Adabashyan, Apti Magamaev.
No MPAA rating, running time 153 minutes...
VENICE, Italy -- Sidney Lumet turned Reginald Rose's fine play "12 Angry Men" into a splendid movie in 1957 and it has been revisited on stage and television but never better than in Russian filmmaker Nikita Mikhalkov's triumphant new film version titled simply "12."
Screened in competition at the Venice International Film Festival, the film takes the plot of a dozen jurors having to decide the fate of an accused murderer and expands it into an examination of modern Russia. The essential debate about democratic justice remains, but making the defendant a Chechen youth charged with killing his Russian stepfather permits an illuminating exploration of the post-Soviet era as each juror reveals his background, life choices and prejudices.
Mikhalkov and co-writers Vladimir Moiseenko and Alexandr Novotosky have created a sturdy and intelligent screenplay that alternates humor and stark drama with flashbacks to horrific incidents in war-torn Chechnya. The staging is convincing, the acting is exceptional, and the tension never flags despite the film's 153 minutes.
Prospects are high for worldwide audience interest in a film that demonstrates all the attributes of first-class, grown-up filmed entertainment, and it will probably collect some awards along the way.
Mikhalkov, whose "Burnt by the Sun" won the 1995 Academy Award for best foreign language film, demonstrates a masterful hand behind the camera and also takes the role of a man whose calm efficiency leads the other jurors to accept him readily as chairman.
The film begins with the 12 unnamed men being herded into makeshift quarters next to the court, a school gymnasium with plenty of room but a dodgy electrical system. The two-month long trial is only visited in the dialog between jurors, although that is cleverly enhanced by recreations of elements of the crime.
Witnesses claim to have seen and heard the Chechen youth, who is seen occasionally pacing in his cell, argue with his stepfather and yelling: "I'll kill you." A knife made for hand-to-hand combat and said to be only available in the boy's homeland is also key evidence.
The first vote is 11-1 in favor of conviction. The sole dissent is by an apparently mild-mannered man (Sergei Makovetsky) who says that he thinks there should at least be some discussion. Everyone is keen to make a decision and go home, but he says that he needs to talk about it because a guilty decision will mean the boy is imprisoned for the rest of his life. He agrees to join the majority if everyone else remains in favor provided the next round is a secret ballot.
But then there are two. An elderly Jewish man (Valentin Gaft) votes not guilty because he recalls that the lawyer for the defense looked bored throughout the proceedings and he now thinks it wasn't a fair trial.
Like the original play and Lumet's film but very different in all the particulars, "12" shows how the voting changes as the members of the jury respond to persuasion and react to debate. They range from bigoted Muscovite cab driver (Sergei Garmash) to diffident TV executive (Yuri Stoyanov) to cavalier musician (Michael Efremove).
Expansive use of the enclosed space, well photographed by Vladislav Opeliants, emphasizes the smallness of the defendant's cell and jump-cuts to vicious and extremely well staged firefights ramp up the tension.
On the way to a smartly unexpected climax, the film provides insight into many of the social and historical issues that burden modern Russia but that are hardly unique to that country.
12
Three T Productions
Director: Nikita Mikhalkov;
Writers: Nikita Mikhalkov, Vladimir Moiseenko, Alexandr Novotosky;
Producers: Nikita Mikhalkov, Leonid Vereschagin;
Director of photography: Vladislav Opeliants;
Production designer: Victor Petrov;
Music: Edward Artemiev;
Costume designer: Natalia Dziubenko;
Editors: Andre Rigaut, Vincent Arnardi.
Cast:
Nikita Mihhalkov, Sergei Makovetsky, Sergei Garmash, Michail Efremov, Yuri Stoyanov, Valentin Gaft, Aleksei Petrenko, Sergei Gazarov; Viktor Verzhbitsky, Alexei Gorbunov; Roman Mayanov; SergeiArtsybashev, Aleksandr Adabashyan, Apti Magamaev.
No MPAA rating, running time 153 minutes...
- 9/7/2007
- The Hollywood Reporter - Movie News
12
Venice International Film Festival
VENICE, Italy -- Sidney Lumet turned Reginald Rose's fine play "12 Angry Men" into a splendid movie in 1957 and it has been revisited on stage and television but never better than in Russian filmmaker Nikita Mikhalkov's triumphant new film version titled simply "12."
Screened in competition at the Venice International Film Festival, the film takes the plot of a dozen jurors having to decide the fate of an accused murderer and expands it into an examination of modern Russia. The essential debate about democratic justice remains, but making the defendant a Chechen youth charged with killing his Russian stepfather permits an illuminating exploration of the post-Soviet era as each juror reveals his background, life choices and prejudices.
Mikhalkov and co-writers Vladimir Moiseenko and Alexandr Novotosky have created a sturdy and intelligent screenplay that alternates humor and stark drama with flashbacks to horrific incidents in war-torn Chechnya. The staging is convincing, the acting is exceptional, and the tension never flags despite the film's 153 minutes.
Prospects are high for worldwide audience interest in a film that demonstrates all the attributes of first-class, grown-up filmed entertainment, and it will probably collect some awards along the way.
Mikhalkov, whose "Burnt by the Sun" won the 1995 Academy Award for best foreign language film, demonstrates a masterful hand behind the camera and also takes the role of a man whose calm efficiency leads the other jurors to accept him readily as chairman.
The film begins with the 12 unnamed men being herded into makeshift quarters next to the court, a school gymnasium with plenty of room but a dodgy electrical system. The two-month long trial is only visited in the dialog between jurors, although that is cleverly enhanced by recreations of elements of the crime.
Witnesses claim to have seen and heard the Chechen youth, who is seen occasionally pacing in his cell, argue with his stepfather and yelling: "I'll kill you." A knife made for hand-to-hand combat and said to be only available in the boy's homeland is also key evidence.
The first vote is 11-1 in favor of conviction. The sole dissent is by an apparently mild-mannered man (Sergei Makovetsky) who says that he thinks there should at least be some discussion. Everyone is keen to make a decision and go home, but he says that he needs to talk about it because a guilty decision will mean the boy is imprisoned for the rest of his life. He agrees to join the majority if everyone else remains in favor provided the next round is a secret ballot.
But then there are two. An elderly Jewish man (Valentin Gaft) votes not guilty because he recalls that the lawyer for the defense looked bored throughout the proceedings and he now thinks it wasn't a fair trial.
Like the original play and Lumet's film but very different in all the particulars, "12" shows how the voting changes as the members of the jury respond to persuasion and react to debate. They range from bigoted Muscovite cab driver (Sergei Garmash) to diffident TV executive (Yuri Stoyanov) to cavalier musician (Michael Efremove).
Expansive use of the enclosed space, well photographed by Vladislav Opeliants, emphasizes the smallness of the defendant's cell and jump-cuts to vicious and extremely well staged firefights ramp up the tension.
On the way to a smartly unexpected climax, the film provides insight into many of the social and historical issues that burden modern Russia but that are hardly unique to that country.
12
Three T Productions
Director: Nikita Mikhalkov;
Writers: Nikita Mikhalkov, Vladimir Moiseenko, Alexandr Novotosky;
Producers: Nikita Mikhalkov, Leonid Vereschagin;
Director of photography: Vladislav Opeliants;
Production designer: Victor Petrov;
Music: Edward Artemiev;
Costume designer: Natalia Dziubenko;
Editors: Andre Rigaut, Vincent Arnardi.
Cast:
Nikita Mihhalkov, Sergei Makovetsky, Sergei Garmash, Michail Efremov, Yuri Stoyanov, Valentin Gaft, Aleksei Petrenko, Sergei Gazarov; Viktor Verzhbitsky, Alexei Gorbunov; Roman Mayanov; SergeiArtsybashev, Aleksandr Adabashyan, Apti Magamaev.
No MPAA rating, running time 153 minutes...
VENICE, Italy -- Sidney Lumet turned Reginald Rose's fine play "12 Angry Men" into a splendid movie in 1957 and it has been revisited on stage and television but never better than in Russian filmmaker Nikita Mikhalkov's triumphant new film version titled simply "12."
Screened in competition at the Venice International Film Festival, the film takes the plot of a dozen jurors having to decide the fate of an accused murderer and expands it into an examination of modern Russia. The essential debate about democratic justice remains, but making the defendant a Chechen youth charged with killing his Russian stepfather permits an illuminating exploration of the post-Soviet era as each juror reveals his background, life choices and prejudices.
Mikhalkov and co-writers Vladimir Moiseenko and Alexandr Novotosky have created a sturdy and intelligent screenplay that alternates humor and stark drama with flashbacks to horrific incidents in war-torn Chechnya. The staging is convincing, the acting is exceptional, and the tension never flags despite the film's 153 minutes.
Prospects are high for worldwide audience interest in a film that demonstrates all the attributes of first-class, grown-up filmed entertainment, and it will probably collect some awards along the way.
Mikhalkov, whose "Burnt by the Sun" won the 1995 Academy Award for best foreign language film, demonstrates a masterful hand behind the camera and also takes the role of a man whose calm efficiency leads the other jurors to accept him readily as chairman.
The film begins with the 12 unnamed men being herded into makeshift quarters next to the court, a school gymnasium with plenty of room but a dodgy electrical system. The two-month long trial is only visited in the dialog between jurors, although that is cleverly enhanced by recreations of elements of the crime.
Witnesses claim to have seen and heard the Chechen youth, who is seen occasionally pacing in his cell, argue with his stepfather and yelling: "I'll kill you." A knife made for hand-to-hand combat and said to be only available in the boy's homeland is also key evidence.
The first vote is 11-1 in favor of conviction. The sole dissent is by an apparently mild-mannered man (Sergei Makovetsky) who says that he thinks there should at least be some discussion. Everyone is keen to make a decision and go home, but he says that he needs to talk about it because a guilty decision will mean the boy is imprisoned for the rest of his life. He agrees to join the majority if everyone else remains in favor provided the next round is a secret ballot.
But then there are two. An elderly Jewish man (Valentin Gaft) votes not guilty because he recalls that the lawyer for the defense looked bored throughout the proceedings and he now thinks it wasn't a fair trial.
Like the original play and Lumet's film but very different in all the particulars, "12" shows how the voting changes as the members of the jury respond to persuasion and react to debate. They range from bigoted Muscovite cab driver (Sergei Garmash) to diffident TV executive (Yuri Stoyanov) to cavalier musician (Michael Efremove).
Expansive use of the enclosed space, well photographed by Vladislav Opeliants, emphasizes the smallness of the defendant's cell and jump-cuts to vicious and extremely well staged firefights ramp up the tension.
On the way to a smartly unexpected climax, the film provides insight into many of the social and historical issues that burden modern Russia but that are hardly unique to that country.
12
Three T Productions
Director: Nikita Mikhalkov;
Writers: Nikita Mikhalkov, Vladimir Moiseenko, Alexandr Novotosky;
Producers: Nikita Mikhalkov, Leonid Vereschagin;
Director of photography: Vladislav Opeliants;
Production designer: Victor Petrov;
Music: Edward Artemiev;
Costume designer: Natalia Dziubenko;
Editors: Andre Rigaut, Vincent Arnardi.
Cast:
Nikita Mihhalkov, Sergei Makovetsky, Sergei Garmash, Michail Efremov, Yuri Stoyanov, Valentin Gaft, Aleksei Petrenko, Sergei Gazarov; Viktor Verzhbitsky, Alexei Gorbunov; Roman Mayanov; SergeiArtsybashev, Aleksandr Adabashyan, Apti Magamaev.
No MPAA rating, running time 153 minutes...
- 9/7/2007
- The Hollywood Reporter - Movie News
Cannes Film review: 'The Barber of Siberia'
Just as the lead character named Tolstoy suffers a little whenever he must own up to not being related to the famous Russian novelist, "The Barber of Siberia" is a sprawling, period epic that suffers in comparison to its rich cinematic and literary heritage. Prospects for a major American distribution deal are dim.
The much-anticipated opening film of the 52nd Cannes International Film Festival, and the first feature from director Nikita Mikhalkov since his Oscar-winning "Burnt by the Sun", "Barber" is ostensibly a love story, but not a very complex or compelling one. At nearly three hours, the mostly English-language film indulges in long sequences of Slavic-style comedy that don't necessarily further the story of an enigmatic American woman's love affair with a charismatic Russian army cadet.
Although she confidently attacks the role, Julia Ormond is allowed to indulge in far too many contemporary nuances in her performance as Jane, a lone woman in Czarist Russia circa 1885 on a mission to help desperate inventor McCracken (Richard Harris) secure funds to finish creating a steam-driven forest-harvesting machine, which he hopes will make him rich. Like most of the cast, she tries to keep the energy level high, but one never feels very connected to her character and rarely laughs with the bemused outsider at her zany hosts.
Oleg Menshikov as Cadet Tolstoy, on the other hand, is terrific as the passionate young man who meets Jane on the train to Moscow. They share some champagne in her compartment and a few laughs as his comrades fumble about. Later, they are both on the street in Moscow when mysterious shooters in black assassinate an official. In one of the film's best scenes, Tolstoy shows he's not the best soldier-in-the-making when he lets one of the assassins go free.
Jane visits McCracken's workshop and watches the old coot almost destroy his invention in one of many comic scenes that fall flat. The plan is for Jane to butter up one Gen. Radkov (Alexey Petrenko) in order to gain access to the grand duke -- a source of completion funds, if you will, for McCracken's tree "barber." Open, aggressive, a smoker and seemingly free to wed, Jane succeeds in charming Radkov, but Tolstoy is thoroughly smitten and obviously a much better match despite his lackluster social status.
From cadets polishing a dance floor to outdoor festivals with vodka-drinking bears to a climactic performance of "The Marriage of Figaro", there are some entertaining moments, but the pacing often slows to a crawl, and the framing device of the story -- Ormond's character revealing to her American Army recruit son his origins -- has weak ongoing gags involving gas masks and crude insults aimed at Mozart.
At one point, Tolstoy risks everything to fight a duel over Jane's honor. But he goes even further down the road to ruin when he becomes convinced she's playing all the angles, which she is. Still, he proposes to her, barely beating Radkov to the punch. She is then forced to reveal that she's not who she seems to be -- certainly not McCracken's daughter, as she claimed -- and relates a horrible fact about her past.
Eventually, as in seemingly all Russian love stories of this size and breadth, the lovers are separated -- he's sent off to prison for attacking Radkov in a jealous fit, and she goes back to the States. Ten years later, she accompanies McCracken to Siberia for a test of his machine and goes searching for Tolstoy, who settled there after serving his sentence.
While visually the film has some nice touches, with Mikhalkov working in widescreen for the first time, the overused narration of Ormond's character doesn't wait for one to absorb the story visually. Time and location titles are also employed needlessly, accentuating the overall stodgy feeling to the storytelling. The director has a splendid cameo as Emperor Alexander III, but Harris is disappointing as the mad inventor -- except for a shot of his character yelling on top of a train steaming through the forests in one of this film's rare transcendent moments, the kind one expects a lot more of from Mikhalkov.
THE BARBER OF SIBERIA
Camera One, ThreeProds.,
France 2 Cinema, Medusa, Barrandov Biografia
Michel Seydoux presents
In association with Intermedia Films
Director: Nikita Mikhalkov
Screenwriters: Rustam Ibragimbekov, Nikita Mikhalkov
Producer: Michel Sedoux
Executive producer: Leonid Vereschagin
Cinematographer: Pavel Lebeshev
Production designer: Vladimir Aronin
Editor: Enzo Meniconi
Costume designers: Natacha Ivanova, Sergey Struchev
Music: Edward Nicolay Artemyev
Color/stereo
Cast:
Jane: Julia Ormond
Tolstoy: Oleg Menshikov
McCracken: Richard Harris
Radkov: Alexey Petrenko
Running time -- 176 minutes
MPAA rating:...
The much-anticipated opening film of the 52nd Cannes International Film Festival, and the first feature from director Nikita Mikhalkov since his Oscar-winning "Burnt by the Sun", "Barber" is ostensibly a love story, but not a very complex or compelling one. At nearly three hours, the mostly English-language film indulges in long sequences of Slavic-style comedy that don't necessarily further the story of an enigmatic American woman's love affair with a charismatic Russian army cadet.
Although she confidently attacks the role, Julia Ormond is allowed to indulge in far too many contemporary nuances in her performance as Jane, a lone woman in Czarist Russia circa 1885 on a mission to help desperate inventor McCracken (Richard Harris) secure funds to finish creating a steam-driven forest-harvesting machine, which he hopes will make him rich. Like most of the cast, she tries to keep the energy level high, but one never feels very connected to her character and rarely laughs with the bemused outsider at her zany hosts.
Oleg Menshikov as Cadet Tolstoy, on the other hand, is terrific as the passionate young man who meets Jane on the train to Moscow. They share some champagne in her compartment and a few laughs as his comrades fumble about. Later, they are both on the street in Moscow when mysterious shooters in black assassinate an official. In one of the film's best scenes, Tolstoy shows he's not the best soldier-in-the-making when he lets one of the assassins go free.
Jane visits McCracken's workshop and watches the old coot almost destroy his invention in one of many comic scenes that fall flat. The plan is for Jane to butter up one Gen. Radkov (Alexey Petrenko) in order to gain access to the grand duke -- a source of completion funds, if you will, for McCracken's tree "barber." Open, aggressive, a smoker and seemingly free to wed, Jane succeeds in charming Radkov, but Tolstoy is thoroughly smitten and obviously a much better match despite his lackluster social status.
From cadets polishing a dance floor to outdoor festivals with vodka-drinking bears to a climactic performance of "The Marriage of Figaro", there are some entertaining moments, but the pacing often slows to a crawl, and the framing device of the story -- Ormond's character revealing to her American Army recruit son his origins -- has weak ongoing gags involving gas masks and crude insults aimed at Mozart.
At one point, Tolstoy risks everything to fight a duel over Jane's honor. But he goes even further down the road to ruin when he becomes convinced she's playing all the angles, which she is. Still, he proposes to her, barely beating Radkov to the punch. She is then forced to reveal that she's not who she seems to be -- certainly not McCracken's daughter, as she claimed -- and relates a horrible fact about her past.
Eventually, as in seemingly all Russian love stories of this size and breadth, the lovers are separated -- he's sent off to prison for attacking Radkov in a jealous fit, and she goes back to the States. Ten years later, she accompanies McCracken to Siberia for a test of his machine and goes searching for Tolstoy, who settled there after serving his sentence.
While visually the film has some nice touches, with Mikhalkov working in widescreen for the first time, the overused narration of Ormond's character doesn't wait for one to absorb the story visually. Time and location titles are also employed needlessly, accentuating the overall stodgy feeling to the storytelling. The director has a splendid cameo as Emperor Alexander III, but Harris is disappointing as the mad inventor -- except for a shot of his character yelling on top of a train steaming through the forests in one of this film's rare transcendent moments, the kind one expects a lot more of from Mikhalkov.
THE BARBER OF SIBERIA
Camera One, ThreeProds.,
France 2 Cinema, Medusa, Barrandov Biografia
Michel Seydoux presents
In association with Intermedia Films
Director: Nikita Mikhalkov
Screenwriters: Rustam Ibragimbekov, Nikita Mikhalkov
Producer: Michel Sedoux
Executive producer: Leonid Vereschagin
Cinematographer: Pavel Lebeshev
Production designer: Vladimir Aronin
Editor: Enzo Meniconi
Costume designers: Natacha Ivanova, Sergey Struchev
Music: Edward Nicolay Artemyev
Color/stereo
Cast:
Jane: Julia Ormond
Tolstoy: Oleg Menshikov
McCracken: Richard Harris
Radkov: Alexey Petrenko
Running time -- 176 minutes
MPAA rating:...
- 5/13/1999
- The Hollywood Reporter - Movie News
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