The life of a Russian physician and poet who, although married to another, falls in love with a political activist's wife and experiences hardship during the First World War and then the October Revolution.
Young and beautiful Lara is loved by three men: a revolutionary, a mogul, and a doctor. Their lives become intertwined with the drama of Russian revolution. Doctor Zhivago is still married ... See full summary »
After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
Based on the Charles Dickens novel Oliver Twist is about an orphan boy who runs away from a workhouse and meets a pickpocket on the streets of London. Oliver is taken in by the pickpocket ... See full summary »
Lara inspires lechery in Komarovsky (her mother's lover who is a master at surviving whoever runs Russia) and can't compete with passion for the revolution of the man she marries, Pasha. Her true love is Zhivago who also loves his wife. Lara is the one who inspires poetry. The story is narrated by Zhivago's half brother Yevgraf, who has made his career in the Soviet Army. At the beginning of the film he is about to meet a young woman he believes may be the long lost daughter of Lara and Zhivago. Written by
Dale O'Connor <firstname.lastname@example.org>
After a month went by with Marlon Brando failing to respond to David Lean's written inquiry into whether he wanted to play Viktor Komarovsky, he offered the part to James Mason, who accepted. Lean, who had wanted to cast Brando as Lawrence of Arabia (1962) and offered him roles in Ryan's Daughter (1970) and his unmade "Nostromo", decided on Mason as he did not want an actor to overpower the character of Yuri Zhivago. Mason eventually dropped out and Rod Steiger accepted the role. Steiger eventually would be involved in the filming of "Dr. Zhivago" for the better part of a year, which may have been a reason that both Brando and Mason shunned the role. See more »
In an early scene (pre-Revolution), Komarovsky says to Lara, "I want to avoid Kropotkin Street." Before the Revolution, this street was called Prechistenka. Kropotkin was an anarchist, and there would never have been a street named for him in Tsarist Russia. See more »
I think you do. There's another kind. Not high-minded, not pure, but alive. Now, that your tastes at this time should incline towards the juvenile is understandable; but for you to marry that boy would be a disaster. Because there's two kinds of women. There are two kinds of women and you, as we well know, are not the first kind. You, my dear, are a slut.
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David Lean's Doctor Zhivago is a fine and stirring epic which has stood the test of time. One baseless criticism which pops up again and again dwells on..... Julie Christie's sixties bangs!! To me they were cinematic shorthand for "schoolgirl," which her character was at the outset of the plot. For those hung up on hair, the really noticeable sixties styles in this film can be seen elsewhere: Early in the film, as Zhivago is conferring with his professor at medical school, we see a group of female medical students in the background with teased bouffants. Later, at a Christmas party many of the female extras are adorned with the same anachronistic coiffure (this is supposed to be 1912 Moscow!). As to bangs, one can find, for instance, photos of the Russian poet Anna Akhmatova from around the same period with very obvious "sixties" bangs. Bangs have been around to one degree or another, whether in vogue or not, since there has been hair. Case closed.
Another worthless criticism: It's too slow, too long. Phooey. Some movies have to be slow and long to tell a big, detailed story.
If one is going to criticize this film, I suggest the following: 1. Screenwriter Robert Bolt's kneading of the characters' lives into the progression of the Russian revolution is sometimes at odds with actual chronology, so that anyone familiar with this period cringes from time to time. In one scene, in order to identify for the viewer the historical point that has been reached, a character blurts out (I paraphrase, but only very slightly): "Lenin is in Moscow! Civil war has started!" Neither could have been true at that moment in the narrative. Bolt could have polished his distillation of the novel, but who, apart from direct participants, can ever know why such gaffes occur in high-pressure multi-million-dollar productions? 2. This is yet another movie about a writer, in this case a beloved but politically controversial poet, not a word of whose poetry is revealed to the audience (except for the title of one poem, "Lara," after the woman he loves). Other major movies, including Julia (1977) and Wonder Boys (2000) also commit this offense. Ironically, one exception is the campy and rather dreary Isn't She Great (2000), about trash novelist Jacqueline Susann, which actually explores the act of writing! 3. The physical reproduction of the era is uneven. Some moments are too clean. One example: When Zhivago slides open the door of the ostensibly foul-smelling box car in which he and his family have been traveling for weeks packed alongside filthy, probably lice-ridden passengers, he looks too healthy, scrubbed and well rested. This and other moments stand out because they occur in the context of innumerable convincing depictions such as mud-filled wartime trenches, a looted and vandalized city mansion, or a half-frozen refugee tramping stiffly over the ice of a frozen lake. 4. It is said that Russian viewers laugh at the onion-domed house where the lovers hide from the Bolsheviks. Russian churches have onion domes, they say, but not houses. Granted. But I'd like to think that the person who built this particular house was an eccentric and got away with the concept because the house was in an isolated rural area away from the prying eyes of the "architecture police."
In any case, the emotional truths underlying the occasional inadequate or wrongheaded representations register powerfully. The grand-scale perspective gives a sense of the tumult of the times; vivid and memorable casting choices keep us fascinated with the characters and concentrated upon them; you feel the terrible losses people suffered when history so rudely pulled the rug out from under them; you are reminded of the pitiless cruelty of war and the depths to which people in its grip can descend; and how despite the tragedies of our history, we go on no matter what. David Lean had a great gift for injecting bold images at just the right moment. And he had the same gift for the perfectly timed sound effect, often occurring at an edit point. At Zhivago's end one feels a tremendous sense of sadness and loss but hope for the future. Considering the international political climate of the time of its release, it treats the Russian Revolution with enough detachment to illuminate both sides of the political divide. In other words, it doesn't propagandize for either side.
This was the first major Hollywood treatment of the Russian Revolution, was still running in theatres around the world two and three years after its initial release, despite dismissals from most of the major film critics of the time. Its popularity came from word of mouth, i.e., from the public's genuine love of the story and its striking, technically expert presentation. Interestingly, Zhivago as a box office blockbuster was second only to The Sound of Music, released the same year. Both films told the story of individuals faced with historically recent Old World political upheavals (communism/fascism). Furthermore, the soundtrack album of each film took on a life of its own, selling millions of copies. And why not also add that central to the success of each film was an English actress named Julie (Christie as Lara/Andrews as Maria). How many times have you heard of or personally known a woman under 40 with the previously uncommon name of Lara? Guess why that name became popular in the 60's and afterward?
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