Several Days from the Life of I.I. Oblomov (1980)
2xDVD9 | ISO+MDS | PAL 4:3 | Scans (3 TIFs) | 143 mins | 6,39 Gb + 6,13 Gb
Audio: Russian AC3 5.1 @ 448 Kbps | Subs: Russian, English, French, Spanish, Italian,
Dutch, Japanese, Swedish, German, Portuguese, Hebrew, Arabic, Chinese, Czech
Genre: Comedy, Drama, Romance
2xDVD9 | ISO+MDS | PAL 4:3 | Scans (3 TIFs) | 143 mins | 6,39 Gb + 6,13 Gb
Audio: Russian AC3 5.1 @ 448 Kbps | Subs: Russian, English, French, Spanish, Italian,
Dutch, Japanese, Swedish, German, Portuguese, Hebrew, Arabic, Chinese, Czech
Genre: Comedy, Drama, Romance
Director: Nikita Mikhalkov
Russian director Nikita Mikhalkov takes a break from emulating his beloved Chekhov to film the classic Ivan Goncharov novel Oblomov. The title character (played by Oleg Tabakov) is a 19th century Russian civil servant and landlord who chooses to go to bed one day–and never get up. Preferring to sleep his way through life rather than confront it, Oblomov is shaken from his slumbers by the arrival of a childhood friend Shtoltz. A series of flashbacks show why it is that this friend's presence gets Oblomov out of his 'jammies and back on his feet. Also known as A Few Days in the Life of I. I. Oblomov, this sprightly film is an excellent early example of the work of the director who would win a 1994 Oscar for his Burnt by the Sun.
IMDB
Also Known As:
Oblomov - Australia / Finland / Italy / Sweden / USA
Несколько дней из жизни И. И. Обломова - Soviet Union (Russian title)
Alcuni giorni della vita di I.I. Oblomov - Italy
Algunos días en la vida de Oblomov - Argentina
Några dagar i Oblomovs liv - Sweden (informal alternative title)
Några dagar ur I.I. Oblomovs liv - Sweden (informal literal title)
Oblomow - West Germany (TV title)
Quelques jours de la vie d'Oblomov - France
The Russian film version of Ivan Goncharov's 1859 novel, ''Oblomov,'' begins and ends with the sight of a child running rapturously in search of his mother, even though the book's bestknown image is that of a grown man who won't get out of bed. The shift is most appropriate, because Nikita Mikhalkov's film places its chief emphasis on the innocently dreamlike aspects of the story.
Sections of Goncharov's novel can be read as social satire - the title character is a wealthy landowner, and his laziness is legend. And yet it is the book's rambling fantasy passages that sound its most eloquent note, as the sweet, sluggish Oblomov imagines the possibilities life might hold for him if ever he could shake off his torpor. While Goncharov left no doubt about the essential goodheartedness of this becalmed character, Mr. Mikhalkov makes the point even more strongly. His Oblomov is as gentle and guileless as a child.
Mr. Mikhalkov's film ''A Slave of Love'' had an elegance and romance that gave it the air of a Soviet ''The Great Gatsby.'' His haunting, resourceful and sometimes mystifying ''Oblomov,'' which opens today at the Embassy 72d Street, at times has a similar glamour. During the early portions of the tale, Oblomov, played by a bashful-looking, baby-faced actor, Oleg Tabakov, lies in a dark room and rails comically at Zakhar (Andrei Popov), his grumpy and inept servant.
Here, Mr. Mikhalkov offers a compact version of the novel's great opening sequence, during which the hygienic habits of the Oblomov lair are noted, and a parade of visitors fails, each in his turn, to coax the bedridden hero into his streetclothes. The film is dark here, and by Western standards, a little rough around the edges. Even so, Mr. Mikhalkov gives it a distinctly sweeping feeling. The camera roams restlessly around Oblomov's apartment, almost palpably seeking a way out into the light. Only later, when Oblomov's assertive friend Stolz (Yuri Bogatyrev) arrives to throw open the windows and drag Oblomov back into life's mainstream, does the film find the brilliant daylight it has been seeking.
When it flashes periodically to Oblomov's dream of his boyhood, the film turns the outdoors into a shimmering, magical place. This light is lost to him as an adult, until he falls in love with the lovely and bewildering Olga, Elena Solovei, also the star of ''A Slave of Love.'' As their courtship begins, the film moves to the same pastoral setting Oblomov associates with daydreams of his long-lost mother, a setting Mr. Mikhalkov uses optimistically during Oblomov's most promising moments, sadly and beautifully once he is gone.
''Never in my life, thank God, have I had to pull a sock on my foot myself!'' cries the Oblomov of the novel, declaring his passivity once and for all. Yet he is awkwardly thrust by Stolz into Czarist society, which Mr. Mikhalkov recreates concisely by photographing a few palaces, mostly from the outside. Some of the story's key scenes occur just out of camera range, as if to emphasize the extent to which Oblomov remains an outsider, and the film's glimpses of Czarist architecture have the same effect. As Mr. Mikhalkov arranges the film, Oblomov's life has a sunny, childlike, natural aspect and a forbidding, socialized side. These motifs are presented bluntly, without the scheme or order a Western audience might be accustomed to. But their forcefulness is so simple as to be undeniable.
''Oblomov'' is leisurely and, at times, almost slack; there are portions of it, particularly those involving the love affair with Olga, in which nothing seems to be happening at all. And yet the film has a refreshing, unexpected manner, and a radiance that, after this and ''A Slave of Love,'' is becoming Mr. Mikhalkov's trademark. The intelligence and inventiveness he brings to the task of adapting this novel are so impressive as to be virtually unnoticeable, so smoothly does the film drift forward.
Special Features (The film is on the both discs):
- Interviews with script writer and production designer Aleksandr Adabashyan, photography director Pavel Lebeshev, composer Eduard Artemyev
- Actor Andrei Popov featurette
- Behind the Scenes
- "Goncharov's Home Town"
- Cast and Crew filmographies
- Stills Gallery
- Coming soon on DVD
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