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Love and Death (1975)

7.8
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Ratings: 7.8/10 from 21,897 users  
Reviews: 102 user | 48 critic

In czarist Russia, a neurotic soldier and his distant cousin formulate a plot to assassinate Napoleon.

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Title: Love and Death (1975)

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Cast

Cast overview, first billed only:
...
...
Georges Adet ...
Old Nehamkin
Frank Adu ...
Drill Sergeant
Edmond Ardisson ...
Priest
...
Mikhail (as Feodor Atkine)
Albert Augier ...
Waiter
Yves Barsacq ...
Rimsky (as Yves Barsaco)
Lloyd Battista ...
Don Francisco
Jack Berard ...
General Lecoq
Eva Betrand ...
Woman Hygiene Class
George Birt ...
Doctor
Yves Brainville ...
Andre
...
Servant (as Gerard Buhr)
Brian Coburn ...
Dimitri
Edit

Storyline

A Russian is caught up in the Napoleonic invasion of his country. Much of the humor comes from the philosophic conversations that people break into in the midst of crisis situations. Written by John Vogel <jlvogel@comcast.net>

Plot Summary | Plot Synopsis

Taglines:

The Comedy Sensation of the Year!

Genres:

Comedy | War

Certificate:

TV-MA | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Language:

Release Date:

10 September 1975 (France)  »

Also Known As:

La última noche de Boris Grushenko  »

Filming Locations:

 »

Box Office

Budget:

$3,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Trivia

Boris is in his cottage writing poetry. He reads, "I should have been a pair of ragged claws scuttling across the floors of silent seas." He then promptly balls up the writing and throws it into the fire, calling it "too sentimental". The line is from T.S. Eliot's "The Love Song of 'J.Alfred Prufrock'". See more »

Goofs

In the duel scene the behavior of the snow when walked on reveals it to be foam. See more »

Quotes

[first lines]
Boris: How I got into this predicament I'll never know. Absolutely incredible. To be executed for a crime I never committed. Of course, isn't all mankind in the same boat? Isn't all mankind ultimately executed for a crime it never committed? The difference is that all men go eventually, but I go six o'clock tomorrow morning. I was supposed to go at five o'clock but I have a smart lawyer. Got leniency.
See more »

Crazy Credits

Russian composer Sergei Prokofiev is listed in the credits as "S. Prokofiev," just the way he would have been listed in the credits of a Russian film. See more »

Connections

Spoofs Smiles of a Summer Night (1955) See more »

Soundtracks

Alexander Nevsky, Cantata for Mezzo-soprano, Chorus, & Orchestra, Op. 78
(1938) (uncredited)
(excerpts)
Written by Sergei Prokofiev
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Woody at his historical, or should that be, hysterical best!
21 August 2000 | by (Birmingham, England) – See all my reviews

For me Love & Death and Sleeper were Allen's zenith for slapstick, one-liner comic-gag comedy. After the relatively immature but amusing Bananas & Everything You always Wanted To Know About Sex, Allen goes up a notch in the intellectual comedy stakes to produce this fine send-up of Russian culture & historical caricature.

Even though some of the one-liner jokes don't always come off it doesn't matter because you never really get chance to think too much about how droll it is because Allen has another half dozen gags waiting in the wings.

But I've often found that Allen works best when he has a foil for his anarchic humour: and thank the Lord he managed to find the wonderful talent of Ms Keaton. She may not be his intellectual equal but she can run him to ground in nearly everything else. She has a kind of naive charm in this movie, always daydreaming, never really listening to Allen's mutterings & jabberings. And with this naivity brings warmth, humility and a general sense of well being.

At the same time Allen can release all his pentup emotions, fears, neo-neurosis to Keaton knowing full well that she wouldn't have a single notion as to what he was on about.

And thats what makes this partnership so durable whether it be here in Love & Death, or Sleeper, Annie Hall or Manhattan Murder Mystery. The scripts may vary but they're held together by the spontaneity of the two stars.

It should be said also that Love & Death breaks new ground for Allen, because even though he still relies on the childish humour of his earlier films, it is also quite clear that he is more forthcoming with his angst against a problematic world. His philosophic nuances dominate a lot of the film, which he will put to more practical use in his latter films like Annie Hall & Manhattan. But here he gets the mix between jokes & existentualism just right.

Love & Death is quite literally a laugh a minute. Whatever people may say about his recent personal problems it cannot be denied that this guy is a pure talent and should be cherished for what he is - a man that makes the world a happier place, if only for a few hours!

****/*****


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