Director: David Lean Date of Release: 1965 Awards: Five Oscars in 1966, Five Golden Globes in 1967, and multiple others
Omar Sharif as Doctor Zhivago
Julie Christie as Lara
Alec Guiness as Yevgraf
This movie is an epic drama about Russian physician, Yuri Zhivago, who experiences the dramatic upheavals that WWI and the Bolshevik Revolution bring to his homeland. Throughout the story, idealist Zhivago endures numerous hardships, which includes falling in love with a nurse, Lara, when he also loves his wife and family.
Read beforehand to enhance the movie-watching experience:
Much of the movie takes place between 1912 to 1925, which spans World War I, the Russian Revolution, and the Russian Civil War.
It is based on the novel by Boris Pasternak, which was smuggled out of Russia and eventually published in Italy in 1957. The Soviet Union finally allowed the book to be viewed by the public in 1988.
The film was shot in Spain during the regime of General Francisco Franco. While the scene with the crowd chanting the Marxist theme was being filmed at 3:00 am, local police showed up at the set thinking that a real revolution was taking place. Apparently, people who lived near the filming venue woke up to the sound of revolutionary singing, and mistakenly believed that Franco had been overthrown. As the extras sang the revolutionary Internationale for a protest scene, the secret police surveyed the crowd, making many of the extras pretend that they didn’t know the words. (Source: IMDb)
Doctor Zhivago is well known for its soundtrack, particularly Maurice Jarre’s “Lara’s Theme,” which won an Academy Award for Best Music Score.
For some apolitical men, a conscientious few, ideas need not have a practical application. They are of intrinsic worth. The advantage to be gained by exploiting an idea is of no concern. These men love ideas for the sake of wisdom, tranquility, and transcendence; Zhivago was such a man.
—Ian Bloom, Illumined Illusions
I remember observing out loud to Lucy after she and I had tallied the votes for the Fall Film Competition, that the four top films seemed lacking in commonality except for their dates of release. But of course, as I expressed last month, it began to occur to me that a theme for these films might be “social defiance”. Continue reading Doctor Zhivago: Pasternak and Politics→
A Doctor Zhivago review must first include a comment about its extraordinary success at the box office. Upon its release, Doctor Zhivago was so popular with its audiences that it remains as MGM’s second most profitable film. Guess which film is first? Gone with the Wind!
Upon viewing the timeless classic, A Man for All Seasons, members of Movies on Chatham were mesmerized by the superior acting performances of Paul Scofield as Sir Thomas More, Orson Welles as Cardinal Wolsey, and Robert Shaw as King Henry VIII. This film does not need elaborate visual effects, for the acting shines like a sparkling piece of diamond jewelry worn on its own and not clashing with too many other pieces. Continue reading Movies on Chatham’s Introduction to A Man for All Seasons→
My task as director is not just to provide a nice evening’s entertainment. The most important thing is to make people think.
— Andrej Wajda, Academy Award Tribute
The Horrors of Nazism and the Tragedies of Communism
Our movie this month, Ashes and Diamonds (1958), brings the horrors of Nazism and the tragedies of Communism to the screen. The story takes place over a twelve-hour period in Poland at the end of World War II. It is about a young Polish soldier who is ordered to assassinate a high-ranking Communist figure. Drama, irony, romance, and unexpected twists give the viewers a thought-provoking experience. Continue reading Ashes and Diamonds: Will There Remain Among the Ashes a Star-Like Diamond→
Ashes and Diamonds (1958) is the third among a trilogy of war films that spurred Steven Spielberg to write a passionate letter to the Academy of Motion Picture Arts and Sciences recommending its Polish director, Andrzej Wajda, for an Honorary Oscar. Wajda was awarded that Oscar in 2000.
Born in Poland on March 6, 1926, events leading to World War II—and the war itself—shaped Wajda’s formative years. The aftermath of the War also heavily influenced his film-making career, working under a Communist regime where censorship limited creative production. Since censors paid attention more to dialog than images, Wajda slyly filmed his movies accordingly. Continue reading Ashes and Diamonds: Andrzej Wajda on Directing→
The official socialist realist system—with its predictable conflicts, its negative types and positive heroes, and its progressive and optimistic resolutions, encouraged the production of grossly distorted representations of actual life and actual history.
The essence of a political film is in speaking about what is unspoken; in exposing what is concealed; in unveiling the realities behind the events.
—Wajda quoted in Yakir (1984)
It is interesting to observe that through our first-ever “Fall Film Competition,” the group has quite serendipitously assembled a film s that can arguably be considered “Films of Social Defiance.” Even though not all can be classified under an official rubric of revolution, all four are enlightening with respect to a time of radical change in a cultural or national sense. Ashes and Diamonds is celebrated for its appeal to an oppressed people who hear a voice that resonates with them in its representations and symbolism that defies socialist realism mandates. Continue reading Ashes and Diamonds: Wajda and Socialist Realism→
Opportunities are everywhere, one has to be alert to seize them. Recently, I vacationed in California with a dear friend, Jane, who lives in Texas. Our movie group came up during one conversation and I mentioned Summer and Smoke (1961) as our first movie for the fall. Jane promptly replied with information about her friend’s daughter who is married to Albert Devlin, a Tennessee Williams scholar credited with editing two books of the famous playwright’s letters
Many have mourned the loss of Robin Williams and his comic genius. In revisiting The Birdcage and his other films, we can consider aspects of his work that may have changed us all without realizing it.
[W]hat makes the film interesting is that [Robin Williams] must play against type, toning down his manic persona in the face of Lane’s hilarious over-the-top turn.
—Chuck Koplinski, The News-Gazette
You do an eclectic celebration of the dance! You do Fosse, Fosse, Fosse! You do Martha Graham, Martha Graham, Martha Graham! Or, Twyla, Twyla, Twyla! Or, Michael Kidd, Michael Kidd, Michael Kidd! Or, Madonna, Madonna, Madonna! … but, you keep it all inside.
—Armand, The Birdcage
A comedian has been described as a person who seeks to entertain audiences, primarily by making them laugh. Filmmakers employ comedy in the same way, seeking to make their targeted audiences laugh. How do they do this? We have learned from our series on comedy that they do this in a number of ways—using social satire, slapstick, etc. Might they do this also as a way to dispel prejudice against certain groups or against certain characteristics? Alternatively, might screenwriters focus so totally on what to them seems funny that the result is irresponsibly mean? Continue reading The Birdcage: Can We Learn from Our Films?→
Insight for film groups, critics, scholars, and fans