Doctor Zhivago

Doctor Zhivago

David Lean focused all his talent as an epic-maker on Boris Pasternak's sweeping novel about a doctor-poet in revolutionary Russia. The results may sometimes veer toward soap opera, especially with the screen frequently filled with adoring close-ups of Omar Sharif and Julie Christie, but Lean's gift for cramming the screen with spectacle is not to be denied. The streets of Moscow, the snowy steppes of Russia, the house in the country taken over by ice; these are re-created with Lean's unerring sense of grandness. The movie is so lush and so long that it becomes an irresistible wallow, even when logic suffers--like Gone with the Wind before it and Titanic after. Sharif, who achieved stardom in Lean's previous film, Lawrence of Arabia, mostly looks noble, but the supporting cast is spiky: Rod Steiger as a fat-cat monster, Tom Courtenay as a self-righteous revolutionary, and Klaus Kinski and Alec Guinness in smaller roles. Geraldine Chaplin, in her adult debut, plays the doctor's compliant wife. Robert Bolt's screenplay won one of the film's five Oscars, with another going to perhaps the most immediately recognizable element of the movie: Maurice Jarre's romantic music, with its hugely popular "Lara's Theme" weaving in and out of a swooning score. --Robert Horton

Genre: Drama, Romance, War
Production: MGM
  Won 5 Oscars. Another 16 wins & 13 nominations.
 
IMDB:
8.0
Metacritic:
69
Rotten Tomatoes:
82%
PG-13
Year:
1965
197
7,691 Views
A Love Caught in the Fire of Revolution.
In a world of guns and ice there is the great noise of battle and the greater silence of lovers.
Turbulent were the times and fiery was the love story of Zhivago, his wife and the passionate, tender Lara.

[Yevgraf meets Yuri and his family. Whilst Yevgraf appears on the screen, we never hear his on-screen words but his voice-over instead.]

Yevgraf:
"I told them who I was. The old man was hostile, the girl, cautious. My brother... seemed very pleased. I think the girl was the only one who guessed at their position."

Yuri:
You're just as I imagined you. You're my political conscience.

Yevgraf:
"I asked him - hadn't he one of his own? [laughs] And so he talked about the revolution."

Yuri:
You lay life on a table and you cut out all the tumours of injustice. Marvellous.

Yevgraf:
"I told him if he felt like that he should join the party."

Yuri:
Ah, but cutting out the tumours of injustice - that's a deep operation. Someone must keep life alive while you do it. By living. Isn't that right?

Yevgraf:
"I thought then it was wrong. He told me what he thought about the party and I trembled for him. He approved of us, but for reasons which were subtle, like his verse. Approval such as his could vanish overnight. I told him so."

Yuri:
Well, of course I can't approve this evening something you may do tomorrow.

Yevgraf:
"He was walking about with a noose round his neck and didn't know. So I told him what I'd heard about his poems."

Yuri:
Not... liked? Not liked by whom? Why not liked?

Yevgraf:
"So I told him that."

Yuri:
Do you think it's "personal, petit-bourgeoise and self-indulgent"?

[On the screen, Yevgraf nods and says "yes".]

Yevgraf:
"I lied. But he believed me, and it struck me through to see that my opinion mattered. The girl knew what it meant, what it was going to mean. They couldn't survive what was coming in the city. I urged them to leave and live obscurely somewhere in the country where they could keep themselves alive."

Tonya:
We have - used to have - an estate at Varykino, near Yuriatin. People know us there.

Yevgraf:
"He didn't resist. I offered to obtain permits, passes, warrants; I told them what to take, and what to leave behind. I had the impertinence to ask him for a volume of his poems. And so we parted. I think I even told him that we would meet again in better times... but perhaps I didn't."

[Komarovsky returns.]

Komarovsky:
Strelnikov is dead.

Zhivago:
What?!

Komarovsky:
Spare me your expressions of regret. He was a murderous neurotic of no use to anyone. Do you see how this affects Larissa? You don't. You're a fool. She's Strelnikov's wife. Why do you think they haven't arrested her – is this the usual practice? Why do you think they had her watched at Yuriatin? They were waiting for Strelnikov.

Zhivago:
If they thought Strelnikov would come running to his wife, they didn't know him...

Komarovsky:
They knew him well enough. He was only five miles from here when they caught him. He was arrested on the open road. He didn't conceal his identity – indeed throughout the interview he insisted they call him Pavel Antipov, which is his right name, and refused to answer to the name Strelnikov. On his way to execution he took a pistol from one of the guards and blew his own brains out.

Zhivago:
Oh my god... don't tell Lara this.

Komarovsky:
I think I know Lara at least as well as you. But don't you see how this affects her position? She's served her purpose. These men that came with me today as an escort will come for her and the child tomorrow as a firing squad! Now, I know exactly what you think of me, and why, but if you're not coming with me she's not coming with me. So – are you coming with me? Do you accept the protection of this ignoble Caliban on any terms that Caliban cares to make... or is your... delicacy... so exorbitant that you would sacrifice a woman and a child to it?


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1 Comment
  • John Convery
    John Convery
    This is one of the greatest movies of all-time and my personal favorite. The script is loaded with incredible and memorable lines of dialogue. The acting performances are outstanding, especially Rod Steiger as the ignoble Viktor Komarovsky. The cinematography is extraordinary. Some of the scenes are unforgettable like the bloody charge of the Cossacks down the streets of Moscow and the bolshevik-inspired mutinous killing of the Russian officers leading their column of fresh recruits to the front lines and certain massacre, not to mention a freezing Zhivago trudging through the deep snows of the Russian tundra in search of Lara after deserting from the Red partisans. . . Everything is brilliantly wrapped inside a very compelling story set within the turbulence of the First World War and the Russian Revolution that it spawned, and is tied together by the haunting musical score of "Lara's Theme" and the subtlety of an undying genetic inheritance of the ability to play the balalaika while all else seemingly perishes in the surrounding chaos! 
    LikeReply 35 years ago

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