In the opulent St. Petersburg of the Empire period, Eugene Onegin is a jaded but dashing aristocrat - a man often lacking in empathy, who suffers from restlessness, melancholy and, finally,... See full summary »
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Set in 1930s Shanghai, where a blind American diplomat develops a curious relationship with a young Russian refugee who works odd -- and sometimes illicit -- jobs to support members of her dead husband's aristocratic family.
In the opulent St. Petersburg of the Empire period, Eugene Onegin is a jaded but dashing aristocrat - a man often lacking in empathy, who suffers from restlessness, melancholy and, finally, regret. Through his best friend Lensky, Onegin is introduced to the young Tatiana. A passionate and virtuous girl, she soon falls hopelessly under the spell of the aloof newcomer and professes her love for him. Written by
Dawn M. Barclift
The song played at Tatiana's Naming Day feast is "On the Hills of Manchuria". It is not a folk song. It was written in 1906 by Ilya Shatrov, bandmaster of 214 Mokshansky infantry regiment, after tragical events of Russian-Japanese war. See more »
The song played at Tatiana's Naming Day feast - "On the Hills of Manchuria" - could not be played there, as the movie is set in the first half of the 19th century, and the song was written only in 1906 (and named after tragic events of the Russian-Japanese war of 1904-1905 years). See more »
A landmark masterpiece, had it been spoken in Russian.
This film is wonderful and beautiful. I was impressed with the amount of user comments, considering the film has not been very popular, and in the Americas, hardly seen, and bashed by critics. It is an almost perfect film rendition of this classic literary work. I recently saw an acclaimed production of the opera Eugene Onegin by Tchaikovsky, and have read Russian literature. This film is a more complete, and captivating experience than the opera or the original verse novel (in translation). However, the true Russian spirit cannot be captured with the entire cast speaking in Etonian British accents. The film should have been released (even in English speaking countries) completely synchronized in Russian (I prefer to say synchronized since the actors in any film are dubbed, the word is very negative, by themselves anyway). Some of the original verses could have been included. The wonderful score by Magnus Fiennes should have been complemented by Tchaikovsky (and not German Beethoven) music, preferably from the newly-popular Onegin opera. With those (very important) revisions, the film would have been the finest example of Russian literature ever brought to the screen.
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