Russkiy kovcheg (2002)

User Rating:

7.2/10   

Director:

Aleksandr Sokurov

Writers:

Boris Khaimsky (dialogue)
Anatoli Nikiforov (written by)

Release Date:

8 November 2002 (Italy)

Genre:

Drama | Fantasy | History

Tagline:

2000 cast members, 3 orchestras, 33 rooms, 300 years, ALL IN ONE TAKE

Plot:

A 19th century French aristocrat, notorious for his scathing memoirs about life in Russia, travels through the Russian State Hermitage Museum and encounters historical figures from the last 200+ years.

Plot Keywords:

Russian | Russian History | Russia | Art | Critically Acclaimed

Awards:

9 wins & 9 nominations

Cast

Sergei Dontsov	...	The Stranger (The Marquis de Custine) (as Sergei Dreiden)
Mariya Kuznetsova	...	Catherine The Great
Leonid Mozgovoy	...	The Spy
Mikhail Piotrovsky	...	Himself (Hermitage Director)
David Giorgobiani	...	Orbeli
Aleksandr Chaban	...	Boris Piotrovsky
Lev Yeliseyev	...	Himself
Oleg Khmelnitsky	...	Himself
Alla Osipenko	...	Herself
Artyom Strelnikov	...	Talented Boy
Tamara Kurenkova	...	Herself (Blind Woman)
Maksim Sergeyev	...	Peter the Great
Natalya Nikulenko	...	Catherine the Great
Yelena Rufanova	...	First Lady
Yelena Spiridonova	...	Second Lady

Also Known As:

Русский ковчег (Russia)
Russian Ark (International: English title)
Russian Ark - Eine einzigartige Zeitreise durch die Eremitage (Germany)

Runtime:

99 min

Country:

Russia | Germany

Language:

Russian

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Taiwan:GP | Italy:T | Brazil:Livre | France:U | New Zealand:PG | Sweden:7 | Switzerland:7 (canton of Geneva) | Switzerland:7 (canton of Vaud) | UK:U | Argentina:Atp | Australia:G | Singapore:PG | Chile:TE | Canada:G

Filming Locations:

St. Petersburg, Russia

Company:

State Hermitage Museum, The

Trivia:

The snowy courtyard that Catherine II walked through in the movie was covered and full of tropical plants and animals from around the world when Catherine II lived there. This second floor courtyard is now filled with statues and lilac bushes.

Movie Connections:

Featured in In One Breath: Alexander Sokurov's Russian Ark (2003) (V)

Soundtrack:

Aria

the anti-Eisenstein

In the history of cinema, it is the Russians who are generally credited with elevating film editing to a modern art form. It is ironic, and strangely fitting, therefore, that it should be the Russians who, almost a full century later, have now produced the first full-length feature film ever to be composed of a single unedited shot running uninterrupted from first moment to last (Hitchcock came close with `Rope,' but he did include a few `cuts' in the course of the film). Even Sergei Eisenstein, who, in films like `Potemkin' and `Ten Days That Shook the World' spent his career developing and demonstrating the power of editing, would, I dare say, be impressed by `Russian Ark,' a film every bit as innovative and challenging as those earlier seminal works.

For their bravura, awe-inspiring cinematic tour-de-force, director Alexander Sokurov and cinematographer Tilman Buttner take us into the famed Hermitage Museum and Winter Palace in St. Petersburg, providing us with a grand tour not only of the opulent rooms and famous artwork contained therein, but of 300 years of Russian history as well, as various vignettes involving famous people (from Peter and Catherine the Great to Nicholas and Alexandra) and events are played out within the glorious gilded walls.

`Russian Ark' is a bold and audacious project that is the cinematic equivalent of a breathlessly performed high wire juggling act. We know that one false move on the part of the actors or the cameraman, one missed cue or accident of fate could bring the whole delicately poised enterprise crashing down around them. How often, one wonders, did a perfectionist like Sukorov have to resist the temptation to yell `Cut!' to his actors and crew? It's truly amazing to see just how beautifully planned and flawlessly executed the final product turns out to be, especially the ball sequence at the end which features hundreds of dancers and spectators who are set in beautifully choreographed and constantly whirling motion. What's most remarkable is how much of a participant the camera itself is in the proceedings. Not content to stand idly by and observe the scene like some passive onlooker, the camera moves right into the center of the action, gliding in and out of the crowds with utmost grace and precision. Visually, the film is stunning, with exquisite costumes and furnishings as far as the eye can see. Indeed, `Russian Ark' is, among other things, a veritable feast for the eyes, the likes of which we have rarely seen on film before.

`Russian Ark' does have something of a `plot,' involving a narrator whom we never see, a 21st Century filmmaker – we assume it's Sukorov himself - who's found himself inexplicably caught in some type of time warp and magically transported to this strange spectral world. There's also a bizarre European `ghost' figure from the unspecified past who comments - and occasionally attempts to intrude – on the actions taking place around him. But these two characters are of far less interest to the audience than the aural and visual delights of the film itself.

`Russian Ark' is a wonder to behold, for it is much more than just an `exercise,' a `gimmick,' or even an `antithesis' to Eisenstein; it is a vibrant work of art that challenges the limits of its medium and reminds us of just what it is about movies that we love so much.