IMDb > Vanya on 42nd Street (1994)
Vanya on 42nd Street
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Vanya on 42nd Street (1994) More at IMDbPro »

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Vanya on 42nd Street -- Trailer for Vanya on 42nd Street
Vanya on 42nd Street -- New York actors rehearse Chekhov's "Uncle Vanya" in a rundown theater.

Overview

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7.4/10   2,872 votes »
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View company contact information for Vanya on 42nd Street on IMDbPro.
Release Date:
19 October 1994 (USA) See more »
Genre:
Plot:
New York actors rehearse Chekhov's "Uncle Vanya" in a dilapidated theatre. Full summary » | Add synopsis »
Plot Keywords:
Awards:
8 wins & 6 nominations See more »
User Reviews:
Four Layers See more (30 total) »

Cast

  (in credits order) (verified as complete)
Phoebe Brand ... Nanny

Lynn Cohen ... Maman

George Gaynes ... Serybryakov
Jerry Mayer ... Waffles

Julianne Moore ... Yelena

Larry Pine ... Dr. Astrov

Brooke Smith ... Sonya

Wallace Shawn ... Vanya
Andre Gregory ... Himself

Madhur Jaffrey ... Mrs. Chao
rest of cast listed alphabetically:

Oren Moverman ... Flip Innunu (uncredited)
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Directed by
Louis Malle 
 
Writing credits
Anton Chekhov (play "Dyadya Vanya")

David Mamet (play adaptation)

Andre Gregory (screenplay)

Produced by
Fred Berner .... producer
Alysse Bezahler .... associate producer
Beverly Karp .... associate producer
 
Original Music by
Joshua Redman 
 
Cinematography by
Declan Quinn 
 
Film Editing by
Nancy Baker 
 
Production Design by
Eugene Lee 
 
Art Direction by
Daniele Perna 
 
Costume Design by
Gary Jones 
 
Makeup Department
Sharon Ilson .... makeup artist
 
Second Unit Director or Assistant Director
Gary Marcus .... first assistant director
 
Sound Department
Joel Holland .... sound recordist
Tod A. Maitland .... sound
David Platt .... boom operator
Reilly Steele .... sound re-recording mixer
Philip Stockton .... sound editor
Steven Visscher .... foley editor
 
Camera and Electrical Department
Phillip V. Caruso .... still photographer
Richard Dobbs .... dolly grip
Clay Liversidge .... second electric
Don Muchow .... gaffer
Mark van Rossen .... electrician
 
Costume and Wardrobe Department
Sue Gandy .... assistant costume designer
 
Editorial Department
Donna Donato .... assistant editor
Michael Yetter .... negative cutter
 
Other crew
Louis Katz .... production physician
France Lachapelle .... script supervisor
Gen Max .... production assistant
Kim Yu .... publicist: Canada
 
Thanks
Anne Dillon .... special thanks
 

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Additional Details

Also Known As:
MPAA:
Rated PG for thematic material
Runtime:
119 min
Country:
Language:
Color:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:

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30 out of 36 people found the following review useful.
Four Layers, 30 August 2000
Author: tedg (tedg@FilmsFolded.com) from Virginia Beach

There's no shortage of intelligent work in film. But here we have one of the most complexly referential things I've ever seen. Simple self-reference points to itself. Common self-reference points to the viewer defining the experience.

But Mingus used to say why have three threads when you can have seven? Here, some of the most adventurous thinkers in film give us four threads, actually four and a half.

We have the Chekhov play and the Mamet wrapping. Make no mistake that this is not an editing or a translation, but an annotation. We have two perspectives simultaneously. Add to that the notion of the play not as a play for an audience as intended, but an event conducted regularly by the performers for their own sake. This is a creation orchestrated by Gregory, the third thread. One can clearly see in some scenes neither Chekhov nor Mamet but artists collaborating in dialogs. The inner eyes and the outer eyes differ.

Fourth, we have Malle's creation which introduces us into the equation with deliberately shaky and sometimes misframed camerawork. We aren't part of any prior experience, but the actors do include the camera in their collaboration, as an independent thread. Watch how Andre works the camera.

And finally, we have the framing of the artists in real life. This is not simultaneous with the others and in any case excludes the filmmaker.

I recall seeing Paul Newman in the Color of Money in the first scene, acting on three levels simultaneously. It took my breath away. Here, the purpose of the whole contrivance is to challenge the actors (and the viewers!) to participate in a jazz ensemble of acting where the layer of reality is constantly shifting. They chose Uncle Vanya as the base for a reason, because his evershifting foci of love and hate in pairs provide cues for levelshifting.

Shawn really plays on this. His skill wasn't apparent to me on first viewing, especially in the first scenes, where all players are on stage and the non-focus actors have to be invisible. But on repeated viewings one can see his mastery, his shifting forehead! Maybe he could have been a Dostoyevsky. The two young women should be celebrated to the heavens for what they do together. I never believed so many giggles and gasps and stutters and excited silences could be so finely woven, tossed so lightly.

This is really, really good stuff, very smart. So far as an intelligent construction you won't see a superior. I never expect to see four levels at once again in film at least centered in the acting.

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