10 films that are recognized as the best film adaptation of Russian classics

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

Despite the fact that the adaptation of a classic is always a rather risky idea, directors often take on the embodiment of an ambitious idea. Some of these works, in fact, turn out to be a worthy interpretation of the classics, a way to take a fresh look at a long-studied plot and familiar heroes. The performance of the artists and the images they embody on the TV screen always cause heated discussions, therefore you can be sure that the adaptation of the classics will not go unnoticed, but the audience is far from worth paying attention to everything. We have collected the most worthy works.

Quiet Don (director Sergei Ursulyak)

You should not compare the modern adaptation with the Soviet one, these are completely different interpretations of the novel. Perhaps the main advantage of modern film adaptation is the demonstration of everyday life, events, people without embellishment, as close to reality as possible.

There are no big acting names in this movie, and that's for the best. Everything has been done so that actors with too bright appearance or charisma do not draw attention to themselves, leaving the main thing in the center - the plot itself, the course of life and historical events. This is also, perhaps, one of the fundamental differences from the old "Quiet Don", which had a lot of bright names. Yes, not all the public appreciated this approach, some of the actors' play and the actors themselves seemed simple-minded, but it is this simplicity and sincerity that hides the strength of the people, their character and soul.

An attentive viewer will notice how the dirtiest time in the history of the country is contrasted with a sincere and pure people who, despite all the difficulties, retains both their originality and sincerity of feelings. All this is exposed in the film, without far-fetched pretentiousness and false values and stencil emotions.

War and Peace (directed by Tom Harper)

Any attempt to fit the monumental work of Leo Tolstoy on the screens leads to the fact that many details are overlooked, which, meanwhile, become important. This is the second attempt by the Air Force to film Tolstoy, if the first series (20 episodes) was released in 1972, then the second film adaptation consists of 6 episodes. This is the company's most expensive series, as the filming of the first episode alone cost £ 2 million. It is not surprising, after all, this is Lev Nikolaevich, which means expensive costumes, shooting in St. Petersburg, a huge team.

In general, the reviews about the picture are positive, although among the shortcomings are often called the overly English appearance of the actors, the deviation from the plot lines (yes, the viewer may not forgive Tolstoy's rewriting). In addition, the deepening of some plot lines led to the fact that Anatoly and Helen Kuragin find themselves in the same bed in a completely unrelated embrace. Despite the fact that this detail was probably needed by the director in order to show the moral character of the family as a whole, a deliberate increase in the degree of sensuality is undoubtedly present in the film.

For most literary lovers, the film adaptation will become an independent work based on the legendary Russian novel. But the British unambiguously removed from the storyline everything that speaks of Russian originality and deep psychologism. Although, it is true, why go into something that is understandable only for a Russian person?

Anna Karenina (directed by Karen Shakhnazarov)

On the one hand, the film, consisting of 8 episodes, was filmed according to traditionally Russian standards. A measured life, with vulnerable, melancholy and thoughtful heroes. However, the work of this director differs from his predecessors in depth and a different disclosure of the topic.

From the first minutes of the film, you understand that everything here is permeated with pain and anguish of the main character, despite the fact that her behavior does not directly betray it. The picture itself is gloomy, as if darkened, the atmosphere of the premises is somewhat frightening. These are apartments and houses with huge rooms, in which doors lead with openings extending to some distant height, the furniture looks haughty, cold blows from everywhere. At the same time, the actors' play is so sensual and sincere that they seem to be locked in this frightening entourage. This effect is enhanced by the music used in the film.

In addition, the events unfolding on the screen take place thirty years after the death of Anna Karenina - during the Russian-Japanese war in a military hospital, only intensify the constant feeling of pain and fear.

There is no point in watching a film for the sake of accepting the plot, there is no clearly built storyline here, the main emphasis is placed on the feelings and emotions of the main characters, on their conclusions and conclusions. They, as in all Russian classics, are very contradictory, deep and often incomprehensible to the layman, not amenable to standard logic.

Demons (director Vladimir Khotinenko)

The film adaptation of Dostoevsky's novel is reproduced very accurately, judging by the title. Everything that happens is reminiscent of some kind of madness, pictures and circumstances change with frantic dynamism, all the time they are sent to past situations, the feeling that there is a horror on the screen does not leave. One gets the feeling that everything that happens not only on the screen, but also in life, is some kind of horror, and everyone around is possessed by demons. And it is in their actions that the true essence of everything that happens.

The actors (mostly young talents) played very enthusiastically, not forgetting to accompany each action with some madness.

White Guard (directed by Sergei Snezhkin)

It is quite difficult to compete with the rest of the film adaptations of Mikhail Bulgakov's works, given that directors love to work on his work. But Snezhkin presented a new vision, showing that his film is no worse than the rest, another worthy work that should appeal to connoisseurs of the classics.

Snezhkin captures the noble that remained of Tsarist Russia, but so rapidly dissolved in the stream of philistinism and the changing political system. The officers, who were once the personification of honor and dignity, are left face to face with the coming changes, rudeness and unprincipledness, because they are betrayed by their own high-ranking colleagues. The embodiment of old Russia and its best features - the White Guard is not devoid of traitors. The hero, played by Bondarchuk, quickly runs over to the side of the Bolsheviks, having finally understood where the "wind is blowing" from, he is probably one of those people who are able to adapt and adapt to any circumstances.

Separately, it should be said about the cast, Khabensky, Porechenkov, Garmash - with soul and disposition, with knowledge of the matter, reveal images, giving them charisma and character. It is worth paying tribute to the director, he not only acts according to the plot, but reveals some details so subtly and petty that they give a special juiciness. Drama gives way to irony, comedy to tragedy, you can find everything in this film. The whole film does not leave a feeling of opposition between dignity and abomination, confirmed not only by the general plot, but also by the details.

Crime and Punishment (directed by Aki Kaurismaki)

The interpretation of Dostoevsky is quite free and this is, to put it mildly. So, events unfold in Helsinki in the 80s. The main character Anti is unremarkable, modest, restrained, quiet, although he works as a butcher in a slaughterhouse and is experiencing the loss of his bride. The driver who committed the fatal accident is to blame for the death of his beloved, and he escapes punishment.

The detective component, the torments of the protagonist after the murder of a wealthy businessman are not the main components of the film, this is perhaps the most significant difference with the book. The similarity, in addition to the torment of the hero's conscience, is also in the fact that Anti is an ordinary person who is forced by circumstances to go down to the very bottom. It becomes a waste element that has been broken and absorbed by the system.

The cold and calculating protagonists of the film, in the end, turn out to be the main victims, living in captivity of their own feelings, experiences and pain.

The Brothers Karamazov (directed by Yuri Moroz)

The director worked on the picture for several years, and the actors, after filming ended, admitted that this work changed them not only as professionals, but also turned their personal attitudes, ideas about good and evil, about religion and morality. To get used to the role, to feel all the experiences of your hero, even if his point of view is not close to his own attitude, is the work of an actor. But it is one thing to get used to the role of contemporaries and quite another - to the heroes created by the great Dostoevsky, and even living within the framework of his most mysterious and complex novel.

Fedor's relationship with his sons is very complex, each of them looks at what is happening through the prism of his own ego, interests and point of view. Each of the brothers is Dostoevsky's meditation on love of freedom, morality and religion.

The film adaptation claims to be a completely realistic transfer of both the plot and the actors' images, who managed to accurately get used to the role and feel them.

Doctor Zhivago (directed by Alexander Proshkin)

Despite the fact that critics call the film an independent work, this is so far the only domestic film adaptation of Pasternak's work. Demonstration of the history of the country through the prism of one personality - a boy, a man, who was left alone from a young age. As he grows older and gets an education, the Civil War comes to the country, and then the Second World War.

You should not try to look for a complete resemblance to the novel, moreover, the film adaptation has the same difficult fate as the work itself. Before the official release, a pirated version had already been circulated on the screens, and the channel that bought the broadcasting rights included so many ads that it caused a lot of indignation from viewers. For these and other reasons, the series was not appreciated at its true worth, although it certainly deserves attention and can give a lot of viewing pleasure.

The scriptwriters supplemented the novel with dialogues, which in fact did not exist, in order to convey images and events in more detail, to place the right accents. Despite the fact that the heroes turned out to be more down-to-earth and tough, and Zhivago became a famous poet, this helped to more clearly convey the severity of the plot.

Fathers and Sons (director Avdotya Smirnova)

The film will appeal to those who do not prefer preserving the plot and dialogues of the classic in the film adaptation. Here it is done very carefully and with respect to the work. As in an essay, written with excellent marks, the theme of the novel and the conflict between fathers and children are revealed deeply and richly. The acting, the scenery and costumes do not raise questions and do not leave a feeling of "disguise", everything is harmonious, even and as it should be.

Despite the fact that the plot is familiar to everyone, and the director does not deviate from it, the film managed to maintain a certain tension, an argument between the two main characters, arguing in search of truth.

Taras Bulba (directed by J. Lee Thompson)

It is worth mentioning right away that this adaptation does not pretend to be something worthwhile; rather, it is a way to look differently at the Russian classics, through the prism of the American value system. Well, what good can happen if you shoot a film about what happened in another country and at a different time? Well, that's how it worked out. In addition, given the fact that Americans focus on action, and do not bother too much about details.

The plot is very different from the original, and Taras Bulba even outwardly is very different from his book prototype. On the screen, he is smart, dashing and not authoritative at all. Not to mention the fact that it does not at all resemble the face of the Slavic nationality.

And yes, Kalinka-Malinka, bears, three horses, all this is in the film in the right amount. And then how can it not come out in Russian.

Despite the fact that it is still better to read the classics, rather than watch, film adaptations can give both mood and memories and make you think about the eternal. And it is also quite likely that the hand itself will reach for the book, because it always pulls to compare certain details that are forgotten.

The classics of Soviet cinema not only laid the foundations for this direction of art in Russia, but also coped with a host of other tasks, for example, it was cinema that was supposed to change the image of single mothers, making them more respected persons.