– Vitaly Sumin” [MyFilm.gr], Doppelgänger themes often make for great dramatic tension to begin with, imagine with Dostoyevsky. Directed by Kurosawa Akira Cramming a dense, immense (in every sense of the word) classic like Crime and Punishment into a 88 minute film is no easy task, especially when you’re pretty much forced by the studio to make it.

Everything. Still, having Ava Gardner as your second choice is not all that bad, especially when Gregory Peck becomes her partner in crime. So, a lot of that had to be left aside, which was fortunate, as that also allowed me to remove many of those characters. This piece originally appeared on All the Russias, the blog of the NYU Jordan Center for the Advanced Study of Russian, and is reproduced here with their permission. Virtual Crime and Punishment film festival this August!

St. Petersburg is right next door, so perhaps it’s destiny? I’ve now read it perhaps five or six times. Alexander Burry discusses film making, Dostoevsky, and a new Crime and Punishment film with Australian director Andrew O’Keefe of Apocalypse Films. But if you truly want a cinematic experience that captures the claustrophobia and paranoia of this classic novel, this is the one to see. Do you think. Rejecting a role in a Jack Holt vehicle, Lorre suggested Crime and Punishment , and finally agreed to a deal whereby the picture would be made and directed by Sternberg, if Lorre agreed to a loan to M-G-M to appear in Mad Love.” [AFI], Rikos ja Rangaistus (Crime and Punishment) – 1983 FINLAND Amazon Prime | Review. Set in St. Petersburg and focusing its first act on the monologue of a bitter, self-defeating narrator (The Underground Man), Notes from the Underground would have made for great material for the film noir canon in the 1940’s, but a surprisingly few adaptations have been made over the years. DVD | Review. “In this psychological drama, darker than Bresson’s previous films, there’s no salvation through suffering or real understanding of why suicide instead of a divorce. Follow this developing story through our social media on Twitter, Facebook, Google+, Pinterest, Tumblr, and Instagram. Here, the decision was somehow made to do exactly what Hollywood does so often, by disregarding what makes things great. The original score, which is brilliant, took Amy almost a year to complete as she had to work around her paid composing work. Loosely based on Dostoyevsky’s classic, this is as frantic as big screen romances can get, with the director’s future gilfriend of 15 years, Sophie Marceau, showing the same freshness which led her to early stardom in La Boum (Ready to Love). “The female parts created by Tamasaburo Bando are especially dear to me because of the idealisation of women, also present in our Polish tradition. DVD | Review. (805) 984-0098 caroleleedean[at]gmail[dot]com, I want to be part of the action! In addition, Dostoevsky was in close relationship with the stories of the Saints and the Christian tradition with its specific treatment of Trial (“Love will save the world”).” [Vitaly Sumin]. Taking the action and moving it to post-war Japan only heightens the sense of isolation felt by the naive main character, and proves the timeless themes of Dostoyevsky’s work. Bertolucci approaches the filmmaking playfully, toying with sound design and lighting—absurdly large shadows appear in more than one scene—and shooting tongue-in-cheek homages to Sergei Eisenstein and TV soap commercials. In today’s modern society, however, the common man has the illusion of control of his own destiny through technology. Sadly, his original vision will never be seen: originally the film ran over 4 1/2 hours and was deemed too long by the studio. The sense of finality is more than a little unsettling, as if even his beloved Dostoevsky (of whose Crime he once declared “there are no flaws to that great novel”) isn’t enough to keep him going.” [Film Comment], First published in 1868 as part of the journal The Russian Messenger, Dostoyevsky’s The Idiot tells the tale of Prince Myshkin, a character seemingly lacking intelligence who finds himself embroiled in the decadence, egoism and empty mundanity of wordly society.

I was keen to set the film around a university as it’s the world I know.

The lack of money also dragged out the post-production path. Almost every building in the film is on the University campus. The part of the story that appealed most directly was the theory of the “extraordinary man” and Raskolnikov and Porfiry’s relationship embodies that subplot. How it works: you watch the film and then we all discuss it together! Also, the National Gallery of Victoria allowed us to film their exterior “Napoleon” artwork because of Dostoevsky. You can see the trailer for his 2015 film Crime and Punishment here: https://vimeo.com/113887597. “In his autobiography, Josef von Sternberg wrote that he regretted the selection of the actors, particularly Mrs. Patrick Campbell, the famous British stage star, but noted that he had no control over her selection. That Bresson chose a Dostoyevsky adaptation for his first film in color, after having dabbled with works of the Russian master before (as we mentioned already), is interesting. Join us to watch and discuss some intriguing films, and to think about ways of adapting or transposing Dostoevsky’s 1866 novel for the screen. Directed by Luchino Visconti Sternberg thought that Peter Lorre was inappropriate, but noted that he was the only cast member who read the Dostoevsky novel. (805) 984-0098 caroleleedean[at]gmail[dot]com, I want to be part of the action! On Facebook: If you can’t make the designated screening time, or you’re not on Twitter, or you’d like to discuss again, the following Monday, we can discuss the films in the North American Dostoevsky Society FB discussion group (join by clicking on it and requesting to join!).


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