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

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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
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Storyline

In Russia, Boris Grushenko is in love with his pseudo-intellectual cousin Sonja, who loves him since he too is a pseudo-intellectual, but she is not in love with him. Instead she is in love with his brother Ivan. But as Ivan doesn't seem to return her affections, she is determined to marry someone - anyone - except Boris. If that person isn't the perfect husband, then she has to find a suitable lover in addition. Boris' pursuit of Sonja has to take a back seat in his life when he, a pacifist and coward, is forced to join the Russian Army to battle Napoleon's forces which have just invaded Austria. Despite Sonja not being in the picture while he's away at war, Boris' thoughts do not stray totally from women. Although they take these two divergent paths in their lives, those paths cross once again as they, together, both try to find the perfect spouse and lover, and try to assassinate Napoleon. Written by Huggo

Plot Summary | Plot Synopsis

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The Comedy Sensation of the Year!

Genres:

Comedy | War

Certificate:

PG | See all certifications »

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Details

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Release Date:

10 September 1975 (France)  »

Also Known As:

La última noche de Boris Grushenko  »

Filming Locations:

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Box Office

Budget:

$3,000,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

When Woody Allen leaves for the army, he is shown carrying preserved butterflies and a butterfly net as homage to Russian-born author Vladimir Nabokov. See more »

Goofs

During the boot camp "training montage" Boris's uniform changes between one with black cuffs and collar and one with red cuffs and collar. 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.
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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

Featured in Woody Allen: A Life in Film (2002) See more »

Soundtracks

String Quintet In E, Op. 13 No. 5: Minuet
(uncredited)
Written by Luigi Boccherini
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Frequently Asked Questions

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User Reviews

 
The last of Woody's uneven (but still hilarious) comedies
11 October 2001 | by (Haddonfield, NJ) – See all my reviews

"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.


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