In the Nineteenth Century, at the seaside resort of Yalta, the upper class Dimitri Gurov from Moscow meets Anna Sergeyovna walking with her little dog. Both have unhappy marriages: Dimitri ... See full summary »
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In the Nineteenth Century, at the seaside resort of Yalta, the upper class Dimitri Gurov from Moscow meets Anna Sergeyovna walking with her little dog. Both have unhappy marriages: Dimitri has a marriage of convenience arranged by the family when he was a college boy and Anna married a lackey for love that has gone, and they have a love affair. When Anna returns to Saratov and Dimitri to Moscow, he has a boring life at home, spending his time working and going to the club after hours alone to drink and play cards with his friends. On Christmas, Dimitri misses Anna and lies to his wife, telling that he has a business trip to Saint Petersburg. However, he heads to Saratov and he meets Anna in the Opera House with her husband. Their love kindles and Anna promises to meet him in Moscow. In a period when divorce would be unthinkable, Anna and Dimitri are doomed to meet each other in hotel rooms. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
This is one of the few "World Cinema" classics which Ingmar Bergman would endlessly watch.
It is generally believed that unrequited love is classified as impossible love. This is not entirely true as impossible love is more related to a kind of love wherein lovers try to possess something that is impracticable. This is why most instances of impossible love are similar to most incidents of unattainable love."The lady with the dog"- one of the most tender classics of Russian cinema is a film which deals with the theme of impossible love. This Iosif Heifits film describes the tragic tale of Gurov and Anna Sergeyevna who met and fell in love with each other while vacationing at Yalta, Russia. It is based on a famous short story by Anton Chekov which also takes into account the realization of the worthlessness of one's existence in an extremely dull milieu. Gurov is an integral part of this milieu which he hates with all his might. The film remains faithful to the spirit of the book as it has added rich, visual touches to the narrative which takes into account a highly puritanical Russian society where divorce had not yet made its appearance. The beauty of this film lies in the fact that both writer Anton Chekov and director Iosif Heifits emerge as true chroniclers of male-female relationships as they emphatically convey that whenever a man makes the first amorous move, a woman accepts it only when she is truly interested in getting herself involved in a love affair. Lastly, we all know that love is not a child's play and can bring trouble as the viewers watch with astonishment how Anna Sergeyevna express incessantly all unease which she feels whenever she is made conscious of her love affair.
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