War and Peace (film series)

• 1. Soviet Epic Origins

  ›

  In August 1959, King Vidor's American-Italian co-production War and Peace opened in the Soviet Union. It attracted 31.4 million viewers and gained wide acclaim across the country. The impending 150th anniversary of the 1812 French Invasion loomed over Moscow. Worldwide success of Vidor's adaptation created a sense of urgency among Soviet officials. The USSR and the United States were competing for prestige during this era. Soviet Minister of Culture Yekaterina Furtseva began planning a local picture based on Leo Tolstoy's novel. An open letter appeared in the Soviet press signed by many filmmakers. They declared it was a matter of honor to produce a picture surpassing the American version. Der Spiegel reported the film would serve as a counterstrike to Vidor. Several leading Soviet directors proposed themselves to head the project in 1960. Mikhail Romm and Sergei Gerasimov were among those who applied. Ivan Pyryev emerged as the only viable candidate remaining. Officials offered the position to forty-year-old Sergei Bondarchuk instead. He had completed his directorial debut Fate of a Man in 1959. Bondarchuk did not seek the position or know of the proposal until a letter arrived. He chose to accept it and contend with Pyryev. Fedor Razzakov wrote that Bondarchuk's invitation was orchestrated by Pyryev's enemies. In early February 1961, an endorsing letter went to the Minister from prominent cinema figures. Furtseva initially decreed both candidates would direct pilots before a commission. Pyryev soon withdrew his bid after realizing his chances were slim. Bondarchuk represented a generation promoted by Nikita Khrushchev's Kremlin. The old filmmakers from the Stalin era were being replaced. At the end of February, the Minister confirmed Bondarchuk as the director.

• 2. Monumental Production Logistics

  ›

  On the 7th of September 1962, principal photography began on the 150th anniversary of the Battle of Borodino. The first scene depicted the execution of suspected arsonists by the French army. It was shot in the Novodevichy Convent. The crew moved into the Moscow Kremlin for further work later that month. On the 1st of December, Bondarchuk and the production team traveled to Mukachevo with 150 wagons of equipment. They planned to photograph two episodes there: the Battle of Schöngrabern and the Battle of Austerlitz. Harsh winter conditions prevented filming those scenes. Bondarchuk revised plans to film 231 scenes in Zakarpattia while waiting for weather improvement. The Battle of Krasnoi episode involved 2,500 Soviet soldiers wearing French uniforms. Another 500 wore Russian uniforms. When conditions enabled it, 3,000 soldiers re-created the Battle of Schöngrabern near Kushtanovytsia village. The Battle of Austerlitz was filmed near Svaliava. On the 20th of July, producers went to Dorogobuzh to film the Battle of Borodino. Photography could not be carried out in Borodino itself due to many memorials located there. Work commenced on the 1st of August. Shooting began on the 25th of August 1963 its 151st anniversary by the Julian Calendar. 13,500 soldiers and 1,500 horsemen substituted for historical armies. Bondarchuk stated in a 1986 interview that 120,000 participants was an exaggeration. Troops were supposed to return after thirteen days but remained for three months. Twenty-three tons of gunpowder handled by 120 sappers were used for pyrotechnics. Forty thousand liters of kerosene fueled the fires. Ten thousand smoke grenades filled the air. Tens of thousands of cubic meters of soil dug out to construct earthworks resembling Bagration flèches. A system of loudspeakers installed one for each area enabled coordination. On the 4th of November, the session ended and Bondarchuk returned to Moscow. From end of December to mid-June 1964, crew worked in Mosfilm's studios. Natasha's debutante ball was photographed with five hundred extras. On the 15th of June, team went to Leningrad where shooting took place in Hermitage Museum. Summer Garden and Peter and Paul Fortress also hosted filming. Vasilyevsky Island became another location. The final plot line to be shot was Fire of Moscow. Filming began on the 17th of October 1966. For four months prior, plywood set built in village of Teryayevo next to Joseph-Volokolamsk Monastery. Entire construction doused with diesel fuel burned to ground as five fire engines stood nearby. Principal photography ended on the 28th of October 1966.

• 3. Cast Selection Challenges

  ›

  Bondarchuk began holding auditions in May 1961. Oleg Strizhenov received leading role of Prince Andrei Bolkonsky. In spring 1962, shortly before principal photography commencing, Strizhenov changed his mind after being accepted into ensemble of Moscow Art Theatre. Bondarchuk complained to Ministry of Culture. Furtseva spoke with actor but failed to convince him. Director then tried to enlist Innokenty Smoktunovsky who was supposed to star in Grigori Kozintsev's Hamlet. After deliberations, Smoktunovsky accepted offer but Kozintsev used influence in Ministry and received actor back. As last resort, Vyacheslav Tikhonov given role. He first arrived on set mid-December 1962 three months after filming began. Bondarchuk envisaged Pierre Bezukhov having great physical strength according to Tolstoy description. Therefore he offered role to Olympic weightlifter Yury Vlasov. Even rehearsed with him. Vlasov soon gave it up telling director he had no acting skills. Bondarchuk then cast himself as protagonist. His wife actress Irina Skobtseva portrayed Hélène Kuragina Pierre's first wife. During making third and fourth parts journalist named Yury Devochkin substituted for him in many scenes. Anastasiya Vertinskaya Lyudmila Gurchenko and other known actresses wanted to portray Natasha Rostova. Bondarchuk chose inexperienced nineteen-year-old ballerina Ludmila Savelyeva. She had just recently graduated from Vaganova Academy of Russian Ballet. Nikita Mikhalkov cast as Natasha little brother Petya Rostov. However as he was age of adolescence and quickly growing up he abandoned role. Younger Sergei Yermilov took over. Still Mikhalkov riding horse during hunting left in final film. Tikhonov highest paid member received R22,228 portraying Bolkonsky. Bondarchuk earned R21,679 directing plus 20,100 depicting Pierre. Savelyeva got R10,685. Most other actors received less than R3,000.

• 4. Box Office Phenomenon

  ›

  Andrei Bolkonsky screened in two consecutive parts released total 2,805 copies March 1966. In fifteen months afterwards first part sold 58.3 million tickets in USSR. Fifty-eight million viewers remained through intermission. Thus Bolkonsky became most successful film year. Its two parts also 26th and 27th most watched among all pictures ever made Soviet Union. Natasha Rostova opened July with 1,405 copies disseminated performed less well attracted 36.2 million viewers same time period reaching third place 1966 box office. It would have been ninth if counted 1967. Admission for two final parts declined further. 1812 had 1,407 copies released 21 million admissions. Pierre Bezukhov sold only 19.8 million tickets. They made it to 13th and 14th place 1967 box office. With total some 135 million tickets sold War and Peace considered resounding commercial success. Series screened 117 countries around world including Spain Japan West Germany Denmark Belgium Egypt Argentina. East German state-owned DEFA studio produced slightly shorter edition dubbed into German ran 409 minutes maintained four-part arrangement original. Featured Angelica Domröse voicing Lisa Bolkonskaya attracted 2,225,649 viewers. West Germany received much shorter version totaling 337 minutes. Poland sold over 5,000,000 tickets 1967. France had 1,236,327 admissions. Walter Reade Jr.'s company Continental Distributors purchased US rights $1.5 million. Reade associates shortened American version hour added English-language dubbing. Edition directed Lee Kresel Titan Productions narrated Norman Rose. Premiere held DeMille Theater New York the 28th of April 1968 attended actresses Ludmila Savelyeva Irina Skobtseva Soviet ambassadors Anatoly Dobrynin Yakov Malik. Tickets later sold $5.50, $7.50 highest admission rate ever breaking previous $6 record Funny Girl. On the 23rd of January 1969 Kresel's edition opened London Curzon cinema. US television network ABC broadcast War and Peace four days 12, the 15th of August 1972. Series broadcast BBC2 Christmas Day 1976 split two 4-hour sections 30-minute intermission.

• 5. Critical Reception History

  ›

  Soviet film critic Rostislav Yurenev wrote War and Peace most ambitious monumental adaptation greatest work Russian literature set out convey tremendous scope historical conception Leo Tolstoy. He added desire for ever greater depth penetration human character led Sergei Bondarchuk adaptation outcome truly marvelous. Frankfurter Allgemeine Zeitung reviewer Brigitte Jeremias stated film presented history great meticulousness choreographic quality conservative romantic perhaps classical historical film strives authenticity incomparably better Vidor adaptation. French critic Georges Sadoul commented more than sheer scale battle scenes merit lies sense Russian landscape though impressive example filmmaking large scale ponderous any standard tediously faithful novel none narrative flair spirit occasional bravura touching episodes not adequate dogged pedantry. Claude Mauriac wrote Le Figaro littéraire we have already seen many Soviet films but this most beautiful since when. Peter Cowie noted Bondarchuk brought epic sweep eluded King Vidor. Joseph Gelmis Newsday agreed film superior drama spectacle Bondartchouk uses virtually every movie technique extant antiwar film celebrates life love renewal. Renata Adler New York Times wrote characters including Savelyeva who looks little queasy Bondarchuk too old play Pierre dowdy automata. She added film vulgar sense takes something great makes pretentious devoid life failure sense not even enjoyable number lesser films. Adler disapproved English dubbing opining remarkable outer limit what done mistake proves futility dubbing. New Yorker critic Penelope Gilliatt lambasted process decision tack alien voices seems madness. Judith Crist New York Magazine Those Russians! And now I bet they'll beat us to moon Chauvinism damned putting Gone with Wind historic perspective second place certainly War and Peace finest epic time great noble translation literary masterpiece surpassing expectation imagination. Time magazine reviewer wrote film escapes greatness except cost length movie awesome war pusillanimous peace. Novel unlike picture war only background Pierre Andrei shallow literal representations Tolstoy characters moreover dubbing disastrous. Richard Schickel Life noted American distributors cut dubbed ruining merit original had deficiencies Missing Tolstoy theory history Christian message neither fits Marxist theory well lacks power purpose. Roger Ebert commented magnificently unique film Bondarchuk able balance spectacular human intellectual even longest bloodiest battle scenes vignettes stand out as spectacular movie possibly yet has human fullness.

• 6. Awards And Legacy

  ›

  In July 1965 War and Peace awarded Grand Prix 4th Moscow International Film Festival together Hungarian entry Twenty Hours. Ludmila Savelyeva presented honorary diploma. Readers Sovetskii Ekran official publication State Committee Cinematography chose Savelyeva Vyacheslav Tikhonov best actress actor 1966 recognition appearance picture. Same year War and Peace received Million Pearl Award Roei Association Film Viewers Japan. In 1967 film entered 1967 Cannes Film Festival out competition sent instead Andrei Tarkovsky Andrei Rublev invited festival organizers deemed inappropriate Soviet government. United States won Golden Globe Award Best Foreign Language Film 26th Golden Globe Awards. Picture Soviet entry 41st Academy Awards held the 14th of April 1969. Received Academy Award Best Foreign Language Film nominated Best Art Direction. War and Peace first Soviet picture win Academy Award Best Foreign Language Film longest film ever receive Academy Award until O.J.: Made in America won Academy Award Best Documentary Feature 2017. To day one only four Russian films ever win Academy Award Best Foreign Language Film. Other three Dersu Uzala 1975 Moscow Does Not Believe in Tears 1980 Burnt by Sun 1994. Also won National Board Review Award Best Foreign Language Film New York Film Critics Circle Award Best Foreign Language Film 1968. In 1970 nominated BAFTA Award Best Production Design 23rd British Academy Film Awards. In 1986 Bondarchuk requested prepare War and Peace television broadcast. 35-mm copy series filmed parallel main version 4:3 aspect ratio rather 70-mm 2.20:1 submitted adapted team headed Petritsky. In 1999 Mosfilm resolved restore War and Peace part initiative restore old classics. Original 70-mm reels damaged beyond repair studio used 1988 4:3 version original soundtrack make DVD edition process cost $80,000. In 2006 Karen Shakhnazarov director Mosfilm announced new frame by frame restoration being made elements used unclear claimed finished end 2016. Completed restoration first shown Film Society Lincoln Center New York City then Los Angeles other major cities. Criterion Collection released restoration onto 3-disc DVD 2-disc Blu-ray sets the 25th of June 2019.