Voyna I Mir and War & Peace
A Survey of Voyna I Mir and War and Peace
Both the 1956 American film adaptation of War and Peace and the 1965 Russian Voyna I Mir attempt to bring Tolstoy's epic novel to life on the screen. This paper will compare and contrast both film adaptations with the novel and history, and discuss the how each bears its own main idea, its own unique set design and costuming, and its own actors and actresses.
War and Peace (1956) is a film of genuine Hollywood spectacle -- which is to say of grand artifices and shallow substance. The 1965 lengthy (eight hour) Russian version is a spectacular marvel of realism, beauty, and authenticity. While it is impossible to capture the entire magic of Tolstoy's epic novel on film, both versions give a kind of epic interpretation of Tolstoy's work -- both creating their own main ideas out of the context provided by the novel.
Voyna I Mir and the Scope of the Novel
The main idea of the 1965 Voyna I Mir is expressed at the very outset of the film and as the closing reminder: "The thoughts that have important consequences are always simple. All my thinking could be summed up with these words: since corrupt people unite themselves to constitute a force, honest people must do the same. It's as simple as that." The words are Tolstoy's and are meant to act as a framing device for the Soviet era film. Perestroika was in session when the film was made -- and it was designed to act as a kind of distancing from the Stalinist rule of Russian society. Sixties-style camera shots are evident throughout -- but visually it is a stunning, sumptuous affair and fit to bear the title of Tolstoy's famous epic. The costumes and sets and battles and language are all preserved -- many of the scenes of the novel are shot, and Voyna I Mir is a fine rendering, both historically (at least as far as Tolstoy's War and Peace is historical) and thematically.
However, it is a much more somber, sober, and heavier film than its American predecessor. It is on the level of American auteur Terrence Malick, whose Thin Red Line (another war film to attempt to encompass and contemplate the human question) rose ambitiously to the kind of grand scope that Tolstoy employed in War and Peace. The main idea of the 1965 Russian version is to be as faithful to Tolstoy's narrative as possible -- and to a large extent it is.
However, Voyna I Mir also includes the new Soviet-Khrushchev era yearning for something greater, nobler, and better than the paranoid policing of the Stalinist years. The Gulag was being exposed by another master artist named Aleksandr Solzhenitsyn and the public was hungry for a kind of fine-tuning of the Russian spirit. Voyna I Mir is the cinematic answer to that hunger in many ways. Its sweeping cinematography, epic battle sequences, filmed with thousands of extras; its minute attention to detail; its glorious and historically accurate costuming; its on location shooting (the ballroom scenes are magnificently shot in the kind of aristocratic Russian mansions that Tolstoy knew so well); its horrific burning of Moscow -- all of the dramatic elements of the novel are worked into the film with such panache that it deservedly won the Academy Award for best foreign film.
War and Peace and the Hollywood Ending
Voyna I Mir also, because of its length is able to do what the 1956 Italian-American production failed to do: convert the entire narrative to film. The Italian-American 1956 War and Peace, starring Audrey Hepburn and Henry Fonda (as Pierre), is a the kind of standard Hollywood production much in vogue at the time: a historical romance, with fancy backdrops and studio lot fillers -- but far from authentic in any way -- it served the American public what the...
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