Based on the novel by Fyodor Mikhailovich Dostoevskiy "Bratya Karamazovi", it was his last novel which was supposed to be the first in a series but unfortunately was his last one. This ... See full summary »
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Cast

Series cast summary:
Igor Afanasev ...  Pisar 12 episodes
...  Vrach Varvinskiy 12 episodes
...  Piotr Ilyich Perkhotin 12 episodes
Anatoliy Belyy ...  Ivan 12 episodes
...  Smerdyakov 12 episodes
Aleksandr Golubev ...  Alesha 12 episodes
Sergey Gorobchenko ...  Mitya 12 episodes
...  Ippolit Kirillovich 12 episodes
...  Katerina Ivanovna 12 episodes
...  Fiodor Karamazov 12 episodes
...  Madam Khokhlakova 12 episodes
Natalya Lesnikovskaya ...  Maria Kondratievna 12 episodes
...  Grushenka 12 episodes
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Storyline

Based on the novel by Fyodor Mikhailovich Dostoevskiy "Bratya Karamazovi", it was his last novel which was supposed to be the first in a series but unfortunately was his last one. This versions is supposed to be closer to the book than any other released earlier. Written by Pavel

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tv mini series | See All (1) »

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Drama

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Release Date:

27 May 2009 (Russia)  »

Also Known As:

A Karamazov testvérek  »

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(8 parts)

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Version of Bratya Karamazovy (1969) See more »

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User Reviews

 
The 9 hour long adaptation of Dostoievsky's greatest novel is a passion of crying all the way.
12 March 2015 | by See all my reviews

This overwhelmingly beautiful and true to the original rendering of one of the greatest novels ever written, if not the greatest, leaves nothing else to wish for, and yet it is worth while comparing it to Richard Brooks' version of 1958. Maria Schell and Lee J. Cobb remain supreme in their interpretations of Grushenka and the monstrously self-indulgent father, while all the brothers are more convincing and true in this ultimate Russian version. It is nine hours long, and yet you willingly sacrifice all the time it takes and afterwards look forward to seeing it once again in a later future. The colouring is not as expressionistic as in the Richard Brooks version, the drama is not overstressed by intensity and outbursts but much more contained, the colour imagery is on the contrary rather Spartan and not far from a black-and- white impression, only contrasted by some beautiful sweeps into nature, especially the very last scene, which is more Tolstoyan than Dostoievskian. But the main triumph of the film, which underlines its character of infinite and bottomless and yet triumphant tragedy, is the music, very modest and simple but strikes the heart immediately, by Henri Lolashvili. Just the introductory scene, which presents each of the twelve episodes except the last, strikes such a true chord of the story that any heart could melt immediately. This is a regular triumph of classical Russian realism. Enough said. It's a self-evident full score without reservations.


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