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.
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.
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>
In the scene where Julie Christie slaps Rod Steiger, Steiger slaps her back. Steiger slapping her back was not in the script or discussed during filming, Steiger did it only during filming and the stunned reaction of Christie was genuine. When Rod Steiger kisses Julie Christie for the first time, her struggling and surprise is genuine because Steiger deliberately French kissed her, sticking his tongue into her mouth. See more »
In the scene where Dr. Zhivago first arrives in Moscow (near the beginning of the movie). He is boarding a tram on Tverskaya street. In the background, is a statue of Yuri Dolgoruky, the founder of Moscow in 1147. The statue was placed there in 1947 on the 800th anniversary of Moscow's founding. It wasn't there before the Bolshevik revolution, the time during which the scene is supposed to have taken place. See more »
[to Komarowski about Lara]
What happens to a girl like that when a man like you is finished with her?
Interested? I give her to you!
See more »
No wonder the highest directorial achievement for direction of the British Academy of Film and Television is named after David Lean. An artist who knew how to combine great performances, with breathtaking settings, haunting soundtrack, in order to create works of art that are to remain as pillars for the future generations of film-makers.
"Doctor Zhivago" is definitely one of his most outstanding works, a film that breathes with life, and suffers with passion. Neither, though, of the credited people can take as much credit for it, as David Lean. Omar Sharif delivers one of his best performances of his career, Julie Christie has never been as stunning, or Rod Steiger as Komarovsky or Tom Courtenay as Antipov ever left more memorable performances than these ones. Not even Maurice Jarre, who composed one of the most unforgettable themes in film history, or Robert Bolt, for his skillful adaptation on Pasternak's difficult novel, not even Freddy Young's cinematography, can rise above the vibration of genius, which is David Lean. We almost feel the complexity of the universe collapsing on us with a mad power that we instantly become part of it, and fall in love with all its particles.
For those who haven't seen the film, this might make little sense, and it can give a misleading understanding of what one is to expect. "Doctor Zhivago" is a poet, who at the beginning of the 20th Century is caught in the historical Bolshevik revolution. An outstanding doctor, married to his childhood friend, Tonya (Geraldine Chaplin in a warm performance), finds that there is beauty beyond deceit, love beyond commitment, by starting an affair with an enigmatic lady which appears often in his path in the most unnoticeable of moments. Their destiny is as confused as Russia in the turmoil started by the Reds, it is shaped by history without their approval. There is no solution for a country that abandoned its passions in its desire of self-improvement, just as for the two lovers, which find themselves abandoned in the middle of the Siberian taiga.
This is a slow film and for the good reasons. We are allowed to breathe the story, to give it momentum, and to judge it from within, as if the choices were not Yury's, Lara's or Tonya's, but our own creation. And this is the brilliance of Lean's direction. The story transcends time and space, and it melts within the triviality of our life. Beyond it, we are left with nothing but love, pure and blindingly real.
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