Anton Chekhov's last play 'The Cherry Orchard' is one of his best. Other favourites being 'Three Sisters' and 'Uncle Vanya'. It is a masterclass of complex characterisation and mood, while Chekhov's characters were not what one considers "likeable" they are complex and real and he was a master at creating vivid atmosphere. There are plenty of fantastic moments in Chekhov's text, his writing style was heavily criticised and scorned at in his day but it is not a problem with me, other than taking a bit of time initially to get used to the wordiness.
To me, any film or television adaptation that dares go near Chekhov (incredibly difficult to adapt and has been adapted and performed to variable effect) deserves some kind of pat on the back. This version of 'The Cherry Orchard' has a good deal going for it, such as the lead cast and the production values, but doesn't quite come together due to primarily the pacing and that the tone of the film didn't feel right with too much of one tone and not enough of the other.
It does succeed in quite a lot of areas. The lead cast are very good, Alan Bates is very well cast in the kind of role he did so well and does intensely fierce and tortured incredibly well in a way that isn't overwrought. Charlotte Rampling also gives a thoughtful, committed performance that has fire, poignancy and elegance without being melodramatic. Michael Gough and Katrina Cartridge stand out, particularly Cartridge.
Visually, this version of 'The Cherry Orchard' is beautiful. The costumes and settings are truly sumptuous and the photography doesn't come over as static and is just as elegant. While having issues with how it was used, the music itself is hauntingly melancholic and fits very well with the tragic aspect of the story. It does help that Tchaikovsky, which it is heavy in, is one of my favourite composers and with him being a very troubled man in real life which is reflected in a lot of his music he was an ideal fit. The ending is also very moving, the play's ending itself is one of the most moving there is and it takes a lot for it to be ruined, something that none of the versions seen of 'The Cherry Orchard' have done.
However, 'The Cherry Orchard' is an example of a film that finishes a lot more strongly than it starts. Quite a lot of the pacing for my tastes is very dull, especially the truly tedious prologue that doesn't really say anything. Sometimes one sees a film etc that has a scene that comes over as neither interesting or necessary, and the prologue here is one of those films. It also suffers from the opposite issue the generally quite impressive National Theatre Live production had, which succeeded brilliantly in the comedic elements but under cooked some of the drama. Here the dramatic moments have moments where it is very moving and melancholic, but as an adaptation no matter how faithful it is in detail it comes over as over-serious from the satire being pretty much missing.
Did find a lot of the supporting cast to be too hammy, that is including the usually fun to watch Frances De La Tour (one of the worst offenders in my view actually). While the music is beautiful, it perhaps could have been used less and not emphasised the mood as much as it does. It is stodgy in direction too, especially in the early stages, and even for a wordy play the film feels too much so because of the momentum not being there.
In conclusion, watchable but underwhelming considering the source material and the cast. 5/10.
To me, any film or television adaptation that dares go near Chekhov (incredibly difficult to adapt and has been adapted and performed to variable effect) deserves some kind of pat on the back. This version of 'The Cherry Orchard' has a good deal going for it, such as the lead cast and the production values, but doesn't quite come together due to primarily the pacing and that the tone of the film didn't feel right with too much of one tone and not enough of the other.
It does succeed in quite a lot of areas. The lead cast are very good, Alan Bates is very well cast in the kind of role he did so well and does intensely fierce and tortured incredibly well in a way that isn't overwrought. Charlotte Rampling also gives a thoughtful, committed performance that has fire, poignancy and elegance without being melodramatic. Michael Gough and Katrina Cartridge stand out, particularly Cartridge.
Visually, this version of 'The Cherry Orchard' is beautiful. The costumes and settings are truly sumptuous and the photography doesn't come over as static and is just as elegant. While having issues with how it was used, the music itself is hauntingly melancholic and fits very well with the tragic aspect of the story. It does help that Tchaikovsky, which it is heavy in, is one of my favourite composers and with him being a very troubled man in real life which is reflected in a lot of his music he was an ideal fit. The ending is also very moving, the play's ending itself is one of the most moving there is and it takes a lot for it to be ruined, something that none of the versions seen of 'The Cherry Orchard' have done.
However, 'The Cherry Orchard' is an example of a film that finishes a lot more strongly than it starts. Quite a lot of the pacing for my tastes is very dull, especially the truly tedious prologue that doesn't really say anything. Sometimes one sees a film etc that has a scene that comes over as neither interesting or necessary, and the prologue here is one of those films. It also suffers from the opposite issue the generally quite impressive National Theatre Live production had, which succeeded brilliantly in the comedic elements but under cooked some of the drama. Here the dramatic moments have moments where it is very moving and melancholic, but as an adaptation no matter how faithful it is in detail it comes over as over-serious from the satire being pretty much missing.
Did find a lot of the supporting cast to be too hammy, that is including the usually fun to watch Frances De La Tour (one of the worst offenders in my view actually). While the music is beautiful, it perhaps could have been used less and not emphasised the mood as much as it does. It is stodgy in direction too, especially in the early stages, and even for a wordy play the film feels too much so because of the momentum not being there.
In conclusion, watchable but underwhelming considering the source material and the cast. 5/10.