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Fyodor Dostoevsky (novel) and
Ivan Pyryev (writer)
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Release Date:
10 January 1969 (Soviet Union) See more »
Three brothers, one spiritual and living at a monastary, one a gambler, and one an intellectual, work out their problems in 19th century Russia. Full summary » | Add synopsis »
Nominated for Oscar. Another 1 nomination See more »
User Reviews:
Classic Russian adaptation. See more (3 total) »


  (in credits order)

Directed by
Kirill Lavrov 
Ivan Pyryev 
Mikhail Ulyanov 
Writing credits
Fyodor Dostoevsky (novel "The Brothers Karamazov")

Ivan Pyryev  writer

Original Music by
Isaak Shvarts 
Cinematography by
Sergei Vronsky 
Film Editing by
V. Yankovskiy 
Production Design by
Stalen Volkov 
Sound Department
Yevgeni Kashkevich .... sound
Camera and Electrical Department
Evgeniy Guslinskiy .... first assistant camera

Production CompaniesDistributors

Additional Details

Also Known As:
232 min
Color (Sovcolor)
Aspect Ratio:
2.20 : 1 See more »
Sound Mix:

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Movie Connections:
Version of "Bratya Karamazovy" (2009)See more »


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8 out of 10 people found the following review useful.
Classic Russian adaptation., 15 September 2007
Author: Mozjoukine ( from Australia

In a period where Russian film making was not distinguished, their classics adaptations were the peak achievements. Apparently the one film by Bolshoi dignitary Lavrov, who also plays Ivan, this Dostoievsky production makes a stagey first impression, not unlike co-director Pyryev's version of THE IDIOT, but this is a much better film.

Concepts like Lavrov's assertion, in the presence of the priests, that morality is a product of immortality or Dimitri's claim that Korkoshko has never forgiven him for proving more ethical than herself, when he refused to take advantage of her need for money, are set up in the best printed page tradition and then elaborated in a way that we are not used to seeing in film, even those drawing on their connection with serious literature. The film form does rise to demands like the gypsy singer party or the diabolical illusion but these are not the highlights. The work's strength is in putting on screen ideas and states of mind most makers would find too demanding.

Not blessed with subtlety and in fuzzy Sov Colour, visual trimmings are minimal - ducks splashing in a pond, singing monks, a windmill distant in the fog. The weight of the piece is carried by the distinctive cast performing the Dostoievski text full blast.

Respectable versions like the Fritz Kortner or Yul Bryner films, that try to compress the piece into normal feature length, are obliterated in any comparison.

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