Robinson Crusoe flees Britain on a ship after killing his friend over the love of Mary. A fierce ocean storm wrecks his ship and leaves him stranded by himself on an uncharted island. Left ... See full summary »
An art film brings a strongly actual topic in a very original way, a topic that interferes with the theme of intercultural dialog of two different cultures in the European context. two men,... See full summary »
Based on the novel written in 1719, this is said to be an action-packed period drama set in the 17th century, but with a contemporary take on race relations -- and a hero who will bear a ... See full summary »
Shipwrecked on an uninhabited island, Robinson Crusoe fills his time in either building a shelter for himself, or by reminiscing about the years he spent at sea and the adventures that led ... See full summary »
After WWII is over, a young officer Volodya Sharapov returns to Moscow to work in MUR - Moskovskiy Ugolovny Rozysk (Moscow Criminal Police). There he meets Gleb Zheglov who is a chief of a ... See full summary »
In the seventeenth century, Robinson Crusoe is shipwrecked on a desert island and is the only survivor. He takes steps to get food and shelter, hoping one day to be rescued. One day a band of black men arrive by boat and are about to execute one of their number; Crusoe saves him and drives them off, and names the man Friday, and teaches him Crusoe's on language. They survive together, but will they ever be rescued? Written by
Hazel Freeman <email@example.com>
This Russian version of the great DeFoe classic turns out to be respectable and engaging. Directed by Stanislas Govorukin, it succeeds best in delineating the intermittent despair and hope of the shipwrecked survivor that was Robinson Crusoe. The whole sequence of the man's determination to grow a crop of wheat is moving and lyrical, possibly because at the time this film was made Russians had wheat production on their minds and not because of the innate lyricism of wheat. As a superficial adventure yarn, it's worth seeing, but it lacks the psychological depth of Luis Buñuel's 1955 version, with its special Buñuelian touches like the scene in which Friday dresses in a grass skirt and stirs up long-unstirred sexual longings in Crusoe. But that movie had a different intent from this one, which is far more literal. The musical background includes selections from Vivaldi. The movie was a production of the Odessa studios in Ukraine, then part of the U.S.S.R. It got a very minimal release in an English-dubbed version in the United States.
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