Iwan, der Schreckliche I (1944)

Iwan, der Schreckliche I: Directed by Sergei M. Eisenstein. With Nikolay Cherkasov, Lyudmila Tselikovskaya, Serafima Birman, Mikhail Nazvanov. During the early part of his reign, Ivan the Terrible faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people.

“Before I new much about him, when I used to see the box for Alexander Nevsky on the Foreign shelf at my local video store, I always misread Eisensteinu0026#39;s name, transforming it into Einstein. Well, Einstein suits him just as well, for what Albert Einstein was to science Sergei Eisenstein is to the cinema. Witness Battleship Potemkin, possibly the most rousing film ever made. Today, nearly 80 years after it was made, it still has the power to inspire revolution. Its amazing montage editing style may have died with silent cinema (although there are at least two directors today who are somewhat similar: Shinya Tsukamoto and Darren Aranofsky), but it will never be forgotten.u003cbr/u003eu003cbr/u003eWhen Eisenstein moved to sound, he realized that rapid montage would not work in the new medium. He adapted his style, perfecting a new one. Alexander Nevsky and the two Ivan the Terrible films come off to many people as stale historical epics. To me, they come off as the very peak of that genre. Usually I do find historical epics stuffy, but the direction, acting, writing, cinematography, and music of these three films are exquisite, so far beyond anything that Iu0026#39;ve ever seen that these films stir me nearly as much as Potemkin does.u003cbr/u003eu003cbr/u003eIvan the Terrible I is a bit confusing in its plot to begin with, but you have to stick with it. First off, there are many, many characters. A great many are not mentioned by name, and most of the rest are only named on rare occasions. But Eisenstein familiarizes us with the charactersu0026#39; faces. These faces are perfectly chosen and lighted spectacularly. The light is so harsh that every crag in a personu0026#39;s face is clear, and noses cast foreboding shadows. The way time progresses in this film is without much warning, and one problem I encountered was identifying Ivan himself. I did not catch on at first when the first sequence ended and the second sequence began, and Ivan, in the second sequence, has a beard. Once you realize that, though, youu0026#39;re home free. That beard serves as a great identifier throughout the film (and is used in many ways by Eisenstein).u003cbr/u003eu003cbr/u003eI was expecting to like this film, but I found myself obsessed with this utter masterpiece. 10/10”