Word: historico
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Dates: during 1940-1949
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With so much dough riding the throw, Duvivier carefully hedged his bet. His script tore down Tolstoy's complex scaffolding of historico-religious theory, eliminated the subplots, preserved only the central study of a falling woman, with a few glimpses of the high society she fell from. This might have been sufficient if the film had also saved a suggestion of the dreadful glacier-creep of Tolstoy's characterization. Instead, the camera work is uniformly uninspired, and the psychological glacier dissolves into teary slush...