Centers on the romantic and artistic clashes between fading actress Irina Arkadina; fresh-faced ingénue Nina Zarechnaya; famous writer Boris Trigorin, Irina’s lover; and failing playwright Konstantin Treplyov, Irina’s son who is in love with Nina.
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As many writers have noted, the main flaw of this handsome film is that it works much too hard to be cinematic: rapid, jumpy editing and a needlessly mobile camera merely distract from dialogue and performances that need no embellishment. . . . Ultimately, some stylistic excesses and deep cuts to the script don’t stop the play from engrossing and shattering the viewer.
Handsomely mounted and well-acted by a stellar cast, but it’s one of those theatrical adaptations that has no reason to exist for any viewer who can recall a superior stage version of the same work.
Like so much of Chekhov’s deceptively naturalistic work, The Seagull can be read (and probably was, and will be, in many a Comp. Lit. class) as just another bunch of unhappy Russians gassing on about how life has failed them. But how beautifully this top-drawer cast gases, in playwright Stephen Karam’s crafty adaptation of a play that Chekhov insisted was a comedy.
Having never seen the play I enjoyed this not as a film but imagining it's world as a giant stage. The stilted, melodramatic performances all worked for me in that context yet it all felt a little dated and I was left wondering if a more contemporary approach may have yielded a longer lingering film. 3 stars
Some really odd choices in this one - no number of dramatic push-ins are going to give life to these intentionally lifeless and staged scenes, but the intense and vivid close-ups that get sustained throughout entire sequences give an emotive oomph to its shot reverse shots. But the funniest scene is easily the first suicide attempt.
While it does not transcend, it is competent enough to declare these intricate relationships and dynamics. An island with its own set of secrets, lies, and rules. However, it is as light as a seagull fly.
Apart from the photography, casting and costume design which are excellent, this movie is perhaps too fast to taste the magnificent dialogues. Definitely, Stephen Karam’s smart adaptation makes justice of this great classic of Russian Literature.
I can't stop thinking, along with Masha, how to tear the unrequited loves that make us suffer out of our hearts?