In a word, UGGHH. This tv version of Zhivago is still a poor adaptation of the book and many notches below the 1965 David Lean film. Entire important characters are left out, like Evgraf Zhivago. Although everyone seems to be saying it's so much closer to Pasternak, I don't see it. Many of the scenes are really copied right out of the Lean film... only more poorly done. Hans Matheson is not terrible as Zhivago, just not very interesting. He's nice looking in a boy actor kind of way but not nearly as striking as Omar Sharif. His poetry is left totally unexplored. Keira Knightley, an Uma Thurman clone, is just plain bad. All she can do is look dumbfounded with her gawking mouth hanging open. Sorry, Julie Christie she ain't. There is nothing magnetic about the character. Tonya is an underwritten character in the book, and I think Alexandra Maria Lara does about as good a job with her as can be done. While many criticize Geraldine Chaplin in the Lean version, I find her very moving and certainly striking looking. While I don't think Chaplin is a better actress than Lara, she's more memorable. Reviewers have been gushing over Sam Neill as Komarovsky. Neill is a favorite actor of mine, but I think he's really only so-so here. Rod Steiger seemed far more Russian, nastier and more self-loathing (a key part of the character). Neill was merely slick to me.
Giacomo Campiotti filmed this in Prague and in Slovakia which, at first glance, would seem to be a more real location than Spain, Finland and Pinewood Studios where Lean's Zhivago was filmed. But it doesn't feel that way. It doesn't look open and vast. The villages don't look like Russian villages, and Prague, beautiful as it is, doesn't look much like Moscow. A lot of times, it doesn't even look that cold. There is a curious lack of the cyrillic alphabet. Perhaps it was too expensive to erect old cyrillic signage. The use of background Russian speech is interesting but jarring. It just makes me wish the entire film was in Russian. The music is just an odd hodge-podge. In the second half he uses what sounds like classic Slovakian music which sounds totally wrong in a Russian story. I found the guitar strumming more annoying than anything. Yes, "Lara's theme" does get under your craw, but at least it adds some real emotion to the Lean film.
I enjoy the 1965 film, but it's a wonderful guilty pleasure, I don't see it as a great work of art. This BBC version is just drek. I'm hoping a good Russian director will tackle Zhivago and show us how it's really done. I would have love to see how the director of the Russian film "Vor" would deal with it, or the recently departed Elim Klimov (director of Rasputin and Come and See) whose talents would have perfectly matched the demands of adapting Pasternak.
Giacomo Campiotti filmed this in Prague and in Slovakia which, at first glance, would seem to be a more real location than Spain, Finland and Pinewood Studios where Lean's Zhivago was filmed. But it doesn't feel that way. It doesn't look open and vast. The villages don't look like Russian villages, and Prague, beautiful as it is, doesn't look much like Moscow. A lot of times, it doesn't even look that cold. There is a curious lack of the cyrillic alphabet. Perhaps it was too expensive to erect old cyrillic signage. The use of background Russian speech is interesting but jarring. It just makes me wish the entire film was in Russian. The music is just an odd hodge-podge. In the second half he uses what sounds like classic Slovakian music which sounds totally wrong in a Russian story. I found the guitar strumming more annoying than anything. Yes, "Lara's theme" does get under your craw, but at least it adds some real emotion to the Lean film.
I enjoy the 1965 film, but it's a wonderful guilty pleasure, I don't see it as a great work of art. This BBC version is just drek. I'm hoping a good Russian director will tackle Zhivago and show us how it's really done. I would have love to see how the director of the Russian film "Vor" would deal with it, or the recently departed Elim Klimov (director of Rasputin and Come and See) whose talents would have perfectly matched the demands of adapting Pasternak.
