Freaktana A Major Disappointment

SteinMo What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Parker Lewis George Gaynes has a serious role in this excellent feature, and this was produced 10 years after he gained newfound fame as Commander Lassard in the first Police Academy movie believe it or not.Vanya on 42nd Street deserves way more recognition. It's innovative, bold, and the performance is seamless with the audience watching. I have to get my hands on the criterion collection DVD, because there's so much I want to learn about the behind-the-scenes of this fine movie.The movie also featured Brooke Smith, who only three years earlier was in The Silence of the Lambs.Phoebe Brand, Jerry Mayer, Lynn Cohen, and Madhur Jaffrey also deserve recognition.

william-rotsel If you are familiar with the play, you will marvel at the subtlety of the transition - from Monday-morning chatter about the weekend's activities among the cast members who have gathered for a rehearsal - to the play itself: Suddenly the dialog among the actors becomes identical with the lines in the play, the actors have, unbeknownst to viewers who haven't seen or read the play a few times, taken on their roles and begun the rehearsal/performance, a device which makes the action seem all the more authentically real and human. An interesting comment made to me by a Russian author(ess) whom I know: At the end when Sonya tells Uncle Vanya that in the bye and bye everything will be alright ("God will take pity on us...and we will rest"), in this Franco-American production Sonya seems to believe her own optimistically comforting words, whereas in a Russian production she - and Vanya - would know that any hope is only an illusion.

timgr I'm baffled by all the praise this film has received.I'm guessing the director's choice to forego sets and costumes was intended to enable the actors and audience to focus in on and explore the inner world of the characters. But that's just wrong-headed. Human beings aren't fully alive unless they are interacting with (or passionately rejecting) the world around them. What would Neil Simon's characters be without New York, New York?Without the sets and costumes, this production of Uncle Vanya has an airless quality to it that eventually leads to a suffocating case of boredom. There is no sense of time or place (at least not in the first half hour I watched before giving up on it), so the behaviour of the characters seems to be severely stifled (and not merely by whatever social mores the characters are supposedly constrained by).Contrast this with the wonderful My Dinner With Andre, which had a very specific time and place, and which the director regularly reminded us of with interruptions by waiters. Imagine what that production would have been like if Gregory and Shawn had performed the entire thing on stools against a black backdrop, with no interruptions. Yikes!

KFL First, full disclosure: I've seen Uncle Vanya performed by the Bolshoi Theater, and have read the play over a dozen times, in the original Russian. It is dear to me, and I have some rather definite ideas about what it is, and what it should be.Having said that...I must say that while I really liked how the actors were filmed coming into the rehearsal area from the streets of NY, and thought that several deviations from Chekhov were appropriate and even inspired, and though I was awed by the acting of Shawn, Larry Pine, and especially Brooke Smith, ...I had a few problems with this production.Above all--I had a problem with Yelena (played by Julianne Moore) as a giggling airhead. Was this the idea of Moore, or director Gregory, or of David Mamet, who altered the original play? It certainly wasn't Chekhov. Yelena certainly is, in some respects, empty, false, hollow. But having her giggle in response to Vanya's confessions of love is completely at odds with what Chekhov had in mind. She may not be entirely serious, but she does take other people seriously; and her reaction here is more like pity and disgust than like levity and thoughtless dismissal. Yelena is not an airhead valley-girl. The other problem arises from how the play is shot as a movie. As noted by zetes below, theater and film are different media. Obviously Chekhov, who died in 1904, was writing only with the stage in mind. Hence some dialog is bound to be either too weak, or too strong (probably the former). And sure enough, while Brooke Smith is absolutely WONDERFUL as Sonya throughout, her final speech--which in the original play is rousing, inspiring, really uplifting--comes across as way too understated. On the stage, Sonya should give her "We will find peace!" speech at full pitch, packed with emotion; but if Smith had given such a delivery here, with camera in a close-up shot of her as she spoke, the effect would have been completely over-the-top. Her delivery is the best it can be, given the medium; but it's not what Chekhov intended.All this aside, there is a lot to like here, and I'm glad I was able to find this at the video rental store.