Doctor Zhivago

Year:  1965

Director:  David Lean

Screenplay:  Robert Bolt, based on the novel Doctor Zhivago by Boris Pasternak

Starring:  Omar Sharif, Julie Christie, Geraldine Chaplin, Rod Steiger, Tom Courtenay, Alec Guinness, Rita Tushingham, Siobhán McKenna, Ralph Richardson

Running Time:  193 minutes, 200 minutes (1992 re-release)

Genre:  Period drama, epic

Against the backdrop of the First World War and the Russian Revolution, married doctor and controversial poet Yuri Zhivago (Sharif) falls in love with seamstresses daughter Lara (Christie), but their romance is threatened by the momentous historical events taking place around them.

This is probably one of the best known films of all time.  Even if you have never seen Doctor Zhivago, you probably have heard of it before.  This is real epic filmmaking, in scope and certainly in length.  British director David Lean had previously directed such popular epics as The Bridge on the River Kwai (1957) and Lawrence of Arabia (1962), and he was a master of beautiful, widescreen spectacle.  Moving from cramped, dingy flats, to partial restaurants and grand houses, to gorgeous vistas of snowy fields and forests, the film is always beautiful to look at, and it really needs to be seen on the biggest screen possible, because watching it on television, even a big one, means that some of the impact is lost.  Lean is also good at choreographing the frequent surging crowd scenes, riots and cavalry charges, as well as finding some quiet poetry in the images of nature, and the spectacular sequence in a house that looks as if it is made of ice, it's so frozen.  Incidentally, the novel by Boris Pasternak was banned in the Soviet Union, and so the film could not be shot there, instead it was largely filmed in Spain.  There are some impressive performances: Omar Sharif as the brooding Doctor Zhivago; Julie Christie in her star making role as Lara; Geraldine Chaplin is quite underused as Zhivago's wife, Tonya; Rod Steiger plays the repulsive Komarovsky who wants to seduce Lara; Tom Courtenay is good as Lara's idealistic husband Pasha, who is devoted to the revolution; Alec Guinness plays Zhivago's conflicted half-brother; and Rita Tushingham bookends the film as the woman Guinness is convinced is his niece.  Also in the eclectic cast is notorious Werner Herzog regular Klaus Kinski.  Despite it's reputation as a romance, the love story is the backbone of the narrative but the romantic scenes are surprisingly brief.  The fact that a largely British cast are playing Russian characters strikes a bit of a false note, just due to the accents.  Also the story hinges a lot on coincidence, when people just happen to run into each other which doesn't seem very realistic when Russia is quite a big place.  These are small criticisms though, because this is a great film.  It belongs to a period of epic filmmaking which I don't think exists anymore, for the most part marrying spectacle to real human drama.  Despite it's length, it moves at a lively pace and it is never dull.  It also features a memorable score by Maurice Jarre.  It is one of those films that you definitely need to see at some point, particularly if you ever get the chance to see it in a cinema.

Julie Christie and Omar Sharif in Doctor Zhivago

Last Night in Soho

 Year of Release:  2021

Director:  Edgar Wright

Screenplay:  Edgar Wright and Krysty Wilson-Cairns, from a story by Edgar Wright

Starring:  Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Terence Stamp, Diana Rigg

Running Time:  117 minutes

Genre:  Horror

Teenager Eloise Turner (McKenzie) moves from rural Cornwall to the bright lights of London to study fashion design.  Fascinated by the music and the style of the Swinging Sixties, Eloise moves to a bedsit in the Soho area of the city, and finds herself haunted by visions of Sandie (Taylor-Joy) an aspiring singer in the 1960s.  At first Eloise is delighted by these journeys back in time, and uses her experiences to fuel her creativity.  However, as Sandie's story becomes increasingly dark, Eloise's dreams quickly turn into horrific nightmares, which begin to bleed into her waking life.

Probably many people have visions of some fantasy "Golden Age" when everything was cool, wonderful and glamorous, even if it was a time long before they were born.  For modern day teenager Eloise it's the 1960s, but she soon comes to discover that despite the glamour, cool clothes and fantastic music, there is darkness and cruelty.  She comes to London to pursue her dreams of fashion design but almost as soon as she steps off the train, she has a disturbing experience with a creepy taxi driver, and is bullied by the fellow students in her halls of residence, causing her to move into a bedsit.  One of the hallmarks of Edgar Wright films is the visual inventiveness, and this is on full display here, particularly the sequence where Eloise has her first dream which is throughly intoxicating, as Sandie is revealed as her mirror images, and we see Anya Taylor-Joy, with Thomasin McKenzie as her reflection, and vice versa.  Thomasin McKenzie is heartbreaking as the romantic, tormented Eloise, haunted by the past in more ways than one, Anya Taylor-Joy is striking as Sandie, at first seeming the personification of sixties glamour, but who increasingly falls apart.  Former Doctor Who Matt Smith plays handsome, charismatic but dangerous Jack, and Smith is very effective in a throughly villainous role.  Michael Ajao plays Eloise's classmate John, pretty much the only sympathetic male character in the film, and he does invest what could be a very bland part with some real emotion.  There are slo appearances by several Sixties icons: Terence Stamp, Rita Tushingham and, in her final performance, Diana Rigg.  As with all of Edgar Wright's films, music is crucial here, with the stream of sixties classics almost another character.  The film does fall apart somewhat in the final third when it moves into more gruesome giallo horror territory, and at the end there are a few too many coincidences and shocking reveals, but for the most part it works very well, and the film is constantly intriguing, entertaining and sometimes genuinely shocking.  It's about the perils of nostalgia and "Golden Age" thinking, the dark side of glamour and most of all how men prey on women, which is the real horror in the film.

Anya Taylor-Joy and Thomasin Mackenzie in Last Night in Soho