Word: savelyeva
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Weeks of wandering in the Soviet Union bring Giovanna to the brink of exhaustion. There she finds a little wooden house. Inside are wide-eyed, redheaded Mascia (Ludmila Savelyeva) and her little daughter. Yes, si, da (one has his choice in this dubbed babel), Mascia is Antonio's Russian wife. An evening train pulls into the little town -and see! It is the bigamist. Giovanna glares at him. Mastroianni, touching bottom in a long and honorable career, gives his impression of a spaniel. Weeping, Giovanna boards the shuttle and heads back to Italy...
...Henry Fonda. Andrei, a sophisticate and soldier, is unable to alter his archaic sensibilities and perishes in the war. Pierre, muddling through the chaos around him, does nothing right, but because he has the capacity to grow and change, he survives. Between the two flutters the lissome Natasha (Ludmila Savelyeva) as she grows from spritely adolescence to tragic womanhood...
...telling of their lives that the film fails. Pierre and Andrei are at best only shallow, literal representations of Tolstoy's rich characters. To portray Natasha's giddiness, Savelyeva never walks when she can dash, never smiles when she can give shiny-eyed grins that reduce her to a caricature coquette. Amateurish cutting and arbitrary shifts from color to black and white mutilate the film. Moreover, the dubbing is disastrous: the actors' faces show feelings far more profound than the dull words that cannot quite fit their mouths...
...Resurrection's opening scene, Schweitzer (also director) mounts his camera on E. Savelyeva, who trundles down hundreds of yards of oppressively black corridors. The swaying field and the sharply subdued tonal range of blacks and dark greys continue for several long minutes. Abruptly, the corridor leads into daylight. The camera becomes stable, the greys turn brilliant white, and like the prisoner whose path we have been following, we are glad to be out of the aggravating dark, but able to adjust only slowly to the new light...
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