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Love and Death (1975) 7.7
In czarist Russia, a neurotic soldier and his distant cousin formulate a plot to assassinate Napoleon. Director:Woody AllenWriter:Woody Allen |
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Cast
| Cast overview, first billed only: | |||
| Woody Allen | ... | ||
| Diane Keaton | ... | ||
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Georges Adet | ... |
Old Nehamkin
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Frank Adu | ... |
Drill Sergeant
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Edmond Ardisson | ... |
Priest
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| Féodor Atkine | ... |
Mikhail
(as Feodor Atkine)
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Albert Augier | ... |
Waiter
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Yves Barsacq | ... |
Rimsky
(as Yves Barsaco)
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Lloyd Battista | ... |
Don Francisco
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Jack Berard | ... |
General Lecoq
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Eva Betrand | ... |
Woman Hygiene Class
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George Birt | ... |
Doctor
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Yves Brainville | ... |
Andre
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| Gérard Buhr | ... |
Servant
(as Gerard Buhr)
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Brian Coburn | ... |
Dimitri
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Edit
Plot Summary
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Plot Synopsis
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>
Taglines:
The Comedy Sensation of the Year!Parents Guide:
View content advisory »
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Details
Language:
EnglishRelease Date:
10 September 1975 (France) See more »Also Known As:
La última noche de Boris Grushenko See more »Box Office
Budget:
$3,000,000 (estimated)Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
MonoColor:
ColorAspect Ratio:
1.33 : 1
Edit
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 »
(uncredited)
Written by Luigi Boccherini
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Did You Know?
Trivia
When Boris' father visits him in his prison cell, near the end of the movie, he tells him about Raskolnikov killing two women and about getting told by the brothers Karamazov. Rodion Raskolnikov is the protagonist in Fyodor Dostoevsky's classic "Crime and Punishment", in which he murders two women and does not know how to deal with the moral consequences afterwards. "The Brothers Karamazov" is another epic book by the same Russian writer. The dialogue also evokes "The Possessed", "Raw Youth", "The Idiot", "The Insulted and Injured" (usually "The Insulted and Humiliated"), "The Gambler", "The Double", "Bobok", all of them novels by Dostoyevsky. See more »Goofs
In the battle scenes the infantry use percussion cap muskets, which were not invented until after the Napoleonic Wars. 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 »Soundtracks
"String Quintet In E, Op. 13 No. 5: Minuet"(uncredited)
Written by Luigi Boccherini
See more »
"Love and Death" is one of my favourite Woody Allen films, right up there with "Manhattan," "Crimes and Misdemeanors" and "Deconstructing Harry." Sure, the jokes are scattershot and don't always work, but when they do the film is a gut-buster. ("A tremendous amount of wheat!") Parodying everything from Russian literature to foreign films (especially those of his beloved Ingmar Bergman), it's also one of Allen's most overtly philosophical films with characters breaking into syllogisms and formal arguments at the most unlikely moments. Students of philosophy should get a kick out of it.
That said, it is accessible to just about anybody. Almost nobody does fish-out-of-water comedy as well as Woody Allen (see also "Bananas" and "Sleeper"), and Diane Keaton shines as usual as the promiscuous object of his desire. And look for Jessica Harper in a small role as the cousin who rattles off a convoluted list of romantic entanglements worthy of Chekhov.
This was the last step of Allen's formative period. After this, his films would get a lot more focused.