Adaptation of Chekhov's "Uncle Vanya" set in rural Australia in the 1920's. Jack Dickens and his niece Sally run the family farm to support brother-in-law Alexander as a (supposedly ...
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Axel Heyst lives on a secluded island near the Dutch East Indies port of Surabaya. The year is 1913. While on personal business to the port, he visits the hotel owned by racist German ... See full summary »
World famous violinist Caroline Waverly returns to her home town of Innocence to retreat from the world. But a serial slayer is stalking the streets of Innocence, and Caroline may be a prime target for murder.
Carl Fitzgerald is down-on-his-luck until he meets Sophie, a beautiful Greek girl. He gets a job as a cook, but accidentally kills fellow worker Mustafa. He turns to his unscrupulous best ... See full summary »
UK black ops agent is sent to Argentina to find a kidnapped special ops analyst and take out the terrorists who took him. When a pretty girl who may somehow be involved catches his eye things get very complicated fast.
Adaptation of Chekhov's "Uncle Vanya" set in rural Australia in the 1920's. Jack Dickens and his niece Sally run the family farm to support brother-in-law Alexander as a (supposedly brilliant) literary critic in London. Action begins when Alexander returns with his beautiful young wife Deborah, revealing himself as an arrogant failure and wanting to sell the farm out from under Jack. Blakemore introduces themes about Australia's separation from England, as well as expanding the pacifist and ecological philosophies espoused by the local Doctor Max Askey.Written by
Usually, I dislike plays adapted to a place & time other than those the author intended. Country Life (the title is from Chekhov's subtitle for Uncle Vanya, Scenes from Country Life) is a rare exception. Placed in the Australian outback in the 1920s, aspects of the play, such as the old man's writings (here, trashy theatre criticism, some of which is quoted) are as worthless as his academic treatises in the play; veneration for London (true in much of Oz, even today) makes clearer the play's characters' veneration for Moscow; etc. Blakemore, a fine stage director, knows his Chekhov, knows how to get the most of his actors (all of whom are excellent) and, to my happy surprise, knows how to make a sparkling, engrossing film from a play by Chekhov, which is very difficult (Mikhalkov is the only other one who has done it, in An Unfinished Piece for Player Piano). A thoroughly delight
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