Jacob's feet are so turned out that he walks like Charlie Chaplin. He is different because of that and decides to emigrate from Palestine to Canada, where "everyone is equal". There ... See full summary »
Izidore K. Musallam
The story of the 1912 sinking of the largest luxury liner ever built, the tragedy that befell over two thousand of the rich and famous as well as of the poor and unknown passengers aboard the doomed ship.
George C. Scott,
This is the story of Peter I, Tsar of Russia from 1682, and the constant struggle between him, his sister Sophia and the Streltsy, an important Russian military corp. The story depicts the ... See full summary »
A member of the English upper class dies, leaving his estate and his business to an American, whom he thinks is his son who was lost as a baby and then found again. An Englishman who thinks... See full summary »
Adventures of Sheherazade through the legends of the 1001 nights. She meets all the great heroes and kings, and is helped on her journey by a Genie who's living in 1990 London and uses his ... See full summary »
Slapstick comedy based on the play by George Bernard Shaw. A stiff English officer, captain Charles Edstaston (Peter O'Toole), and his fiancée Claire arrive in St Petersburg. Edstaston is ... See full summary »
In this romanticized biography, a small German principality's inexperienced princess, Catherine, becomes the bride of czarevitch Peter, the mad and abusive nephew and heir of the Russian czarina Elizabeth. From Elizabeth she learns the cynical ropes of wielding absolute imperial power at any cost, including sacrificing her lover, young guards officer Saltykov, who must give her an heir that Peter can't and is then sent abroad. After Elizabeth's death, she quickly moves to seize power with military and court support. She then works to enlarge and modernize the empire, again putting statesmanship ahead of her lover, a military genius who defeats the Ottomans and governs the conquered territories for her. Written by
When Catherine borrows the wooden cross from Potemkin, it is hanging from a simple string. But when she gives it back, it has been strung with matching wooden beads. There is no explanation if this is a different prop or if Catherine added the beads herself. See more »
The 21st of August 1745... my wedding day. I was fifteen. The Grand Duke Peter was two years older, and we were both pawns in a political game.
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The Empress Elizabeth II rules mid-eighteenth century Russia. She marries her heir, the physically impotent German prince Peter, to the German princess, Catherine (Catherine Zeta-Jones). Catherine takes a lover, bears a child, plots against her husband and deposes him after he has reigned only six months. She becomes the Empress Catherine II. Well-educated and with liberal ideas, she is an astute politician and wages war with success. Yet when rebellion confronts her with the choice between fostering freedom and suppressing rebellion, she chooses suppression.
Catherine II was a fascinating and complex ruler, the period was crucial in determining the future course of Russia, its expansionary empire, its reactionary society and primitive economy. This film, however, addresses none of these great themes, except in the most cursory and superficial manner. It is a shallow drama of empty spectacle, in which intimate diversions are followed by unconvincing public events, battles and rebellions. The psychological characteristics of the protagonists, the motivations that drive them, the reasons for their decisions are all left unexplained. "There are great matters at stake", says Catherine to Potyomkin (Paul McGann), but we are never told what they are. Such rationalizations as do emerge involve the anachronistic importation of late twentieth-century western liberal concerns into eighteenth-century Russian society.
Television drama need not seem cheap. This film does. There is a good cast, but the dialogue is empty and its delivery perfunctory, although Ian Richardson's Vorontsov is done well and Brian Blessed is surprisingly well-moduated (and exceptionally quiet) as Bestuzhev. Generally, the cast seems dispirited by the trite, thin, lines they are asked to utter. One hundred minutes spent watching Miss Zeta-Jones will always have its rewards. None the less, she is miscast. Most particularly, her voice is in its nature contemporary and middle class, with its very modern inability correctly to pronounce the letter 'r'; it is unsuitable to the role of an eighteenth century aristocrat and Empress. The set pieces are sparse and unconvincing and the direction humdrum.
The story and this cast deserved better than this slight spectacle.
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