A young knight sets out to join King Richard's crusaders. Along the way, he encounters The Black Prince who captures children and sells them as slaves to the Muslims. It is Robert Narra's ... See full summary »
During the sixteenth century, the Catholic Mary, Queen of Scots engages in over two decades of religious and political conflict with her cousin, the Protestant Queen Elizabeth I of England, amidst political intrigue in her native land.
The tragic story of Nicholas II (Michael Jayston), the last Czar of Russia, set against the backdrop of the Russian Revolution. It is an inside look into the private lives of Nicholas and his wife Alexandra (Janet Suzman), their daughters, their only son, and the painful secret about their son and heir apparent which bound the Imperial Couple to the mystical Grigori Rasputin (Tom Baker), and the eventual execution of the entire family.Written by
Gailene Va. Holley <firstname.lastname@example.org>
There are many historical inaccuracies in this movie, but neither the filmmakers nor Robert K. Massie, upon whose book this title is based, can be held responsible for the inaccuracies in regard to characters and events. When Robert K. Massie initially researched materials for his book, the Soviet government was still in power in Russia, and would only authorize viewing of those "facts" that had been assumed by people, and "approved" by the ruling government to be examined by researchers of the Romanov family. It was not until the Soviet government fell in 1991, that documents that had been secretly put away, and which were hidden from the public could be fully examined and researched. See more »
As Nicholas signs his abdication papers it says "March 15" as he says "The Ides of March". apparently, Russia was still using the Alexander calendar (which is 13 days behind the Gregorian one) at this time, so it should read "March 2", as it read on the actual papers. See more »
Excuse me Mr Lenin, I'm from the socialist worker. Could you tell me what you think of the socialist movement in England?
The English cut their meat wrong, their tea is terrible and the weather was better in Siberia, but at least you keep your policemen under control.
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"By courtesy of the National Theatre of G.B." is written underneath Tom Baker and Laurence Olivier's names in the end credits. "By courtesy of the Royal Shakespeare Company" is written underneath Janet Suzman's name. See more »
The present DVD issue is slightly longer than the original VHS versions and includes several scenes not featured in the earlier versions e.g. a Russian general committing suicide and more scenes of the royal family in captivity. See more »
"Nicholas and Alexandra" is one of the last of the grand, sweeping epics that dominated the box office in the 50's and 60's. With the new wave of young, reckless directors who took to the scene in the 70's this kind of filmmaking seemed strangely dated. Ironically enough it kind of mimics the fate of the Romanov family, holding on to ideals that can no longer protect them. The genre, which had started with aplomb with movies like "Gone With The Wind" didn't draw the numbers it used to, and after seeing this movie I can't help but think of what a shame that is.
The movie is off to a slow start, and doesn't really grab the viewer until after the introduction of Rasputin. From there on in it's pure cinematic joy to witness the fate of the Tzar and his family unravel.
The actors do a tremendous job. It's obvious that the producers wanted their actors to look as much like their characters as possible, and while this doesn't necessarily strengthen the movie by itself it clearly gives it a stronger feel of authenticity. Furthermore they perfectly embody their flawed characters. The czar, beautifully played by Michael Jayston is a warm, caring man who unfortunately is totally unfit to be a czar. He is out of touch with his people, and feebly clings to his autocratic power. Jayston manages to portray an almost absurd certainty in his divine right, and ability to rule while at the same time exposing his uncertainty and fright. Janet Suzman is equally impressive as the loving, but domineering Alexandra.
The look and feel of the movie is also fantastic. The jaw-dropping visuals of Russia perfectly accommodates the story, and the music is wonderful all the way through. The pace is slow, and it's easy to see why critics who had just witnessed the exhilarating pace of movies like "A Clockwork Orange" or "The French Connection". But this was how these kinds of movies were made, and "Nicholas and Alexandra" does not shame the genre. It's actually a beautiful end to a spectacular genre which is well worth a look for anyone with a soft spot for David Lean-like movies.
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