Audience Reviews for Ivan the Terrible, Part I (Ivan Grozniy) Nov 21, 2012 Hey, I don't know about terrible; this film is just fine. This 10-digit number is your confirmation number. And he stages every scene that the cameras catch with a painstaking care for the smallest detail of composition. There's a problem loading this menu right now. Man, I can't even crack a lame joke, because this is a 1940s foreign language period piece biopic by the dude who did "Battleship Potemkin", so of course the critics weren't going to call it terrible. The one apparently leading to her own apartment is so low she bends almost double, slithering into view like a snake. I invite comparison of this film with Josef von Sternberg's "The Scarlet Empress" (1934); Camp is the least of the qualities that can be attributed to it. Please enter your email address and we will email you a new password. Now, Eisenstein is starting to examine some of the negative aspects of absolute rule. Nevertheless, for every betrayal of Eisenstein's perhaps too palpable ambition, there is something to fulfill Eisenstein's worthy vision, certainly to where the film rewards, as a whole, yet still to where the film engages your investment, or at least, thanks to visual style, your eyes. However, Part Two was censured by the Kremlin for the `misrepresentation of historical facts' and was withheld until 1958. The historical melodramatic biopic is wonderful to behold visually and for its camp. But I do know that this is a lively, entertaining look at a deeply weird part of Russia's history. More Cannes reviews CANNES -- Both spectacular and pious, "Tsar" positions itself between Sergei Eisenstein's "Ivan the Terrible" and Andrei … Ivan's opponents are seen as a menagerie of grotesque human caricatures, seen separately with no attempt to establish their spatial location. The acting style is declamatory and bombastic. Reviewed in the United States on October 18, 2018. But I do know that this is a lively, entertaining look at a deeply weird part of Russia's history. history, Jonathan Rhys Meyers’ Five Favorite Films, March 2, 2018 |, October 30, 2004 All rights reserved. Their features are sometimes exaggerated by lightning from below. Sign up here. Whether it be because of dating or simply slip-ups with the handling of what advancements there were at the time, this film gets to be rather faulty technically, with the ever so occasional awkward editing slip, as well as consistently improvable sound design that may prove to be to many as both obnoxious and rather unappealing. Worse still, the four completed reels of Part Three were destroyed. Still, it's not like this subject matter needs a whole lot of pretty stuff and fine production designs to sustain your attention, because although the film does lose all too often, on the whole, it's easy to stick with the story, as its subject is worthy and rather interesting, so much so that it deserves to be brought to life in a better film, which isn't to say that this film faults exceedingly with its portrayal of this story, for although Sergei Eisenstein makes his share of mistakes, when he picks things up, he delivers, both as writer and an almost elegantly subtle directorial storyteller. Just leave us a message here and we will work on getting you verified. This can be seen as a defense of Stalin's absolute hold on his country at the time this film was made. I hope earnest students of cinema will forgive me when I say every serious movie lover should see it -- once. The image is an example of a ticket confirmation email that AMC sent you when you purchased your ticket. Eisenstein's masterpiece is a must-see for all, not just social realism fans. The re enactments are done very very well. Nevertheless, for every betrayal of Eisenstein's perhaps too palpable ambition, there is something to fulfill Eisenstein's worthy vision, certainly to where the film rewards, as a whole, yet still to where the film engages your investment, or at least, thanks to visual style, your eyes. Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. [font=Century Gothic][color=red][/color][/font] Please click the link below to receive your verification email. During the trial of Joan of Arc, Dreyer placed his heroine in a subservient position below a bench of fearsome judges, who along with onlookers are seen in frowning or angry close ups, at oblique angles, in stylized lighting. history, Jonathan Rhys Meyers’ Five Favorite Films, March 2, 2018 Verified reviews are considered more trustworthy by fellow moviegoers. Sergei Eisenstein is generally quite decent and sometimes fairly commendable, yet he just can't keep his perhaps overly artistic mindset completely at bay, and while we're certainly not looking at a Terrence Malick film here, there is a kind of limp lyricism to certain moments that gets to be a touch overbearing. With Andrei Dinescu, Ivana Mladenovic, Zivka Sorejevic. Read the Empire Movie review of Ivan The Terrible Parts One And Two (1942/46) . Eisenstein had almost certainly seen it before he began filming in the early 1940s, if not in Russia then in Hollywood, where after the success of his early films "Potemkin" and "October" he was invited in 1930 to make a film by Paramount. We won’t be able to verify your ticket today, but it’s great to know for the future. Eisenstein's sets are incompatibly larger, but often evoke the same look. Eisenstein planned a third part of a trilogy and shot some scenes for it, but production was halted and the director died in 1948. |, February 18, 2007 Coming Soon. Eisenstein begins here, and will continue throughout the film, to use dramatic close ups of faces. This short documentary was very well done and presented some unique modern perspectives on Russia’s first Tsar. Brilliant, innovative film still holds up today. Copyright © Fandango. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
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