To read a little of the background of the film, it's clear that 'Zvenigora' is in part a quasi-allegorical reflection of Ukrainian history; one quite gathers that something is lost in the experience of watching for any viewer who lacks that knowledge and perspective. Just as much so if not more than this, however, the feature is also unmistakably fantastical in the story it has to tell - and with imaginative details in makeup, costume design, editing, and other elements, fantastical as well in how it tells that story. Where filmmaker Alexander Dovzhenko's other works can be slightly challenging for the unmistakable feel of an art film that they bear, and the occasional lack of total comportment between shots, scenes, intertitles, and story beats, this is also true to no small extent for the slant that 'Zvenigora' carries. Each subsequent moment does work to build a cohesive whole, yet in a way that refuses the merest tinge of plainspoken directness.
With all that said - whatever one's opinion of his body of work, there also can be no doubt that Dovzhenko is an artist with fine mastery of his craft. There are many marvelously arranged shots and scenes in this picture, rich with detail and positively thrumming with vibrant life. The director's shot composition, and his guidance of the cast, weave wonders before our eyes, a tapestry of unexpected heart and soul that defies the presentation that may immediately come off as disjointed. At times hard to parse, or downright flummoxing, it's in no small part a dazzling and even bewitching view.
Now, in fairness, when considering 'Zvenigora' as a whole, there's something to be said for the fact that audiences who aren't specially attuned to the wavelength Dovzhenko was operating on - the context of Ukrainian culture and history - may be put out, or a bit lost. I think it's reasonable to argue that a film which can't be comprehended and appreciated of its own accord across time and in different places fails to be a total success regardless of its merit otherwise. If an art film can sometimes be perceived by those who don't wholly "get it" as "much sound and fury, signifying nothing," certainly a feature that relies in at least some way on spectators' foreknowledge may have much the same sense about it. Still, once more - given the abstruse, whimsical concept on hand, I also think it's within reason to think 'Zvenigora' may prove a bit of a labor even for those who would share Dovzhenko's grasp and insight.
And, at length, formidable as the viewing experience may be, the truth remains that the skill poured into the construction of the piece is outstanding. It's so admirable that I rather think the strengths of the movie outweigh its faults - much to take in, some aspects perhaps not completely digestible, but worthy and enriching all the same as a slice of past cinema. So much splendid effort and care went into making 'Zvenigora' a robust, engrossing picture, and whether the responsibility for the challenge of watching falls to Dovzhenko or to each individual viewer, the value verily exceeds the vexation. It's a curiosity, and a task, and definitely not for all comers. Yet for anyone receptive to the more complex and enigmatic side of film, 'Zvenigora' is ultimately a terrific title that's well worth checking out.
With all that said - whatever one's opinion of his body of work, there also can be no doubt that Dovzhenko is an artist with fine mastery of his craft. There are many marvelously arranged shots and scenes in this picture, rich with detail and positively thrumming with vibrant life. The director's shot composition, and his guidance of the cast, weave wonders before our eyes, a tapestry of unexpected heart and soul that defies the presentation that may immediately come off as disjointed. At times hard to parse, or downright flummoxing, it's in no small part a dazzling and even bewitching view.
Now, in fairness, when considering 'Zvenigora' as a whole, there's something to be said for the fact that audiences who aren't specially attuned to the wavelength Dovzhenko was operating on - the context of Ukrainian culture and history - may be put out, or a bit lost. I think it's reasonable to argue that a film which can't be comprehended and appreciated of its own accord across time and in different places fails to be a total success regardless of its merit otherwise. If an art film can sometimes be perceived by those who don't wholly "get it" as "much sound and fury, signifying nothing," certainly a feature that relies in at least some way on spectators' foreknowledge may have much the same sense about it. Still, once more - given the abstruse, whimsical concept on hand, I also think it's within reason to think 'Zvenigora' may prove a bit of a labor even for those who would share Dovzhenko's grasp and insight.
And, at length, formidable as the viewing experience may be, the truth remains that the skill poured into the construction of the piece is outstanding. It's so admirable that I rather think the strengths of the movie outweigh its faults - much to take in, some aspects perhaps not completely digestible, but worthy and enriching all the same as a slice of past cinema. So much splendid effort and care went into making 'Zvenigora' a robust, engrossing picture, and whether the responsibility for the challenge of watching falls to Dovzhenko or to each individual viewer, the value verily exceeds the vexation. It's a curiosity, and a task, and definitely not for all comers. Yet for anyone receptive to the more complex and enigmatic side of film, 'Zvenigora' is ultimately a terrific title that's well worth checking out.