基本資料
導演:謝爾蓋·愛森斯坦
伊凡雷帝編劇:謝爾蓋·愛森斯坦
主演:NikolaiCherkasov/LyudmilaTselikovskaya/SerafimaBirman
類型:傳記/歷史
製片國家/地區:蘇聯
語言:俄語
上映日期:1944-10-30
片長:103分鐘/USA:95分鐘
又名:雷帝伊凡/IvantheTerrible,PartOne
劇情梗概
Despitespendinghiscareerunderanincreasinglyrestrictiveregimewhichregardedcinemaasatooltopropagatethegovernmentlineandneededonlytheslightestexcusetocensororbanpictures,SergeiEisensteinalwayshadhisownideasandagendaswhichshonethroughthePropaganda.IvantheTerriblewascommissionedbytheSovietgovernmenttoglorifyadeaddictator,withwhomthelivingdictator(Stalin)identified,butinEisenstein'shandsitbecamemuchmorethanthat–oneofthegreateststudiesofpowerinthehistoryofcinema.
IvantheTerribleisprimarilyconcernedwiththeconflictbetweentheinstitutionalpowerofthesystemandthecharismaticpowerofindividuals.Thisthemeisallsetupintheopeningscene.Itbeginswithashotofthecrown,andthengoesthroughthevariousritualsofIvan'scoronation,whilstinthebackgroundvariousdignitarieswhispertheirdoubtstoeachother.Ivan'sfaceisnotevenshownuntilthecrowngoesonhishead.It'sclearatthispointthatweareseeingthecreationofasymbolicfigureheadtsar–theritualsandsymbolsofpowermeanmorethanthemanhimself.However,whenIvanbeginstospeakhetalksofunitingRussiaandrulingwithanironfist.Fromtheseriesofreactionshots,wearetoldstraightawaythattheassortedaristocrats,stateofficialsandclergymenwantedapuppetruler,andarenowhorrified.ThroughoutthefilmEisensteinusesthiskindofcinematicshorthandtorevealtheshiftingloyaltiesandprivatethoughtsofcharacters.MorethananyotherfilmIcanthinkof,youcanunderstandwhatisgoingoninIvantheTerriblewithoutneedingtounderstandthedialogueorseethesubtitles–thestoryistoldpurelyinimages.
AlthoughEisensteinhadbeenmakingfilmsfortwentyyearsbeforethis,it'sclearhisstylewasstillevolving.Heeditingtechniquepriortothiswasmostlyusedtoenhanceactionsequencesormakepoliticalpointsthroughcomparisons.Nowheusesittoconveyemotionsandrelationsbetweencharacters.Ifhehadlivedalittlelongerhecouldperhapshavebroadenedhishorizonsandbecomeadirectorofdramas.Still,aswithhispreviousworksthisisastorytoldmorethroughthemassesofpeople–notthroughtheindividuals.
PerhapsthebiggestchangebetweenEisenstein'searlysilentworksandtheselatersoundfilmsisintheirlevelofstylisation.Whilethesilentfilmsmayhavebeenveryvisuallydynamic,thewaytheywerestagedandactedwasessentiallyrealist–thecrowds,theaction,thesetupsalllookedauthentic.IvantheTerribleontheotherhandistheatrical,almostoperatic–stentorianvoices,exaggeratedgesturesandoutlandishlookingcharacters.Onethingalongtheselinesthatisconsistentthroughoutallhispictures(andwassometimesatoddswiththerealismofhisearlierwork)isthewayinwhichhecastanddirectedhisactorssoastoleavenocluesastotheircharacter.Whiletheleadroleswerefilledbystrikinglygood-lookingactors,thevillainswereoftenpainfullyugly,andareoftenmadetolookridiculousinthewaytheyact.Lookat,forexample,Ivan'srivalforthethroneVladimir,whomEisensteinturnsintoahalf-witwithavacantexpression.Healsolikestoremindusofanimals–forexampletheconniving,hunchbackeddiplomatwhoresemblessomekindofcrow.
Eisensteinalsoheretakesonanexpressionistlookforthefirsttime–veryenvogueinHollywoodatthetime,butvirtuallyanunknownmovementinSovietcinema.IvantheTerribleissetlargelyindim,grimyinteriors–incontrasttoearlierEisensteinpictureswhichtookplacelargelyoutdoors–sothegrainy,moodylookisquiteappropriate.Hepaysagreatdealofattentiontolighting,withcharactersoftenthrowinglargeshadowsagainstwallsverymuchinthestyleofFritzLangandMichaelCurtiz.
OfthetwocompletedpartsofIvantheTerrible(therewastobeathird,butitwasaxedbythegovernmentduringproduction),Ipersonallypreferthesecond.Theyaremoreorlessidenticalinstyle,butPart1ismadeupofaseriesofshortepisodesandisalittlelessengaging.Thecoronationandweddingscenesareperfectlyconstructed,andthewaronKazanisuptherewiththebattlescenesinAleksandrNevsky.IfindthelatersceneswithIvan'sbrushwithdeathandhisself-imposedexilealittleslow,eventhoughtheyarestillincrediblywellmade.
獲獎情況
1946年LocarnoInternationalFilmFestival最佳攝影EduardTisse1946年LocarnoInternationalFilmFestival最佳攝影AndreiMoskvin
