Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

DVD: Burnt by the Sun 2

Riddle? Mystery? Enigma? National interest does not redeem this double-bill Russian cinema let-down

share this article

Russian actor, director Nikita Mikhalkov: the moustache that set thousands of hours of Russian filmstock unrolling

Nikita Mikhalkov’s Burnt by the Sun was one of the few good news stories in Russian cinema in the Nineties. Made with his longterm scriptwriter Rustam Ibragimbekov, it picked up a main prize at Cannes in 1994 and the Best Foreign Film Oscar the following year. Its small Chekhovian story - adapted later by Peter Flannery for a successful run at London’s National Theatre - resounded far above its weight.

Red Army hero-general Sergei Kotov (Mikhalkov himself, a fine actor, main picture) felt the chill winds of the Stalinist 1930s. The reappearance of Mitya (Oleg Menshikov), a friend now turned NKVD-betrayer, disrupted the balmy mood of summer holiday life enjoyed with his younger wife Marussiya and daughter, Mitya’s motives tied up not least with past feelings for Kotov's wife. A gaggle of elderly relations straight out Chekhov provided additional comic tone.

It ended with Kotov, badly bloodied, being taken off to an assumed death in the gulag. Until the director had the idea to commute this sentence, and bring Kotov back from the camps to fight heroically in the Great Patriotic War. It’s a decision viewers may rue, as nearly two decades later we’re dealing with the bombastic debris that was its follow-up, as this double-disc DVD release of the two sequels, reveals. The first sequel, Exodus, premiered to local fanfare in 2010 only to be resoundingly rejected by Russian viewers; the second, Citadel, came along the following year (and didn’t repeat the original’s Oscar success, despite a nomination).

What went wrong? Scriptwriter Ibragimbekov, who knew how to tell a story rather than a heroic tract, left the project. The arrival of computer special effects expanded visual opportunities catastrophically. Mikhalkov, meanwhile, felt the allure of power and set himself up as a public figure expecting viewers to hang on his every pronouncement. They didn’t. The sense of acting as loud as its battle scenes are long could hardly be further from the first film, with no one telling the director when enough was enough (as much on the taste as on the length front).

The two films on this DVD release are in the versions shown internationally, with Exodus cut by half an hour or so from its Russian release – it still comes in at just short of two and a half hours. Citadel is no shorter, though seems somewhat more tightly plotted, and has a welcome interlude that returns to the eccentric family atmosphere of the very first film, which seems a world away indeed from the conflict of war.  

Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
The sense of acting as loud as its battle scenes are long could hardly be further from the first film

rating

2

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more film

The pioneering journalist E Jean Carroll's story is heartening, funny and troubling
A surprise Thai hit combines deadpan-dry humour with sharp-toothed social commentary
School shootings and social media alienation queasily satirised
Enthralling and witty political drama from 1960s East Germany
Matt Damon stars in Christopher Nolan's IMAX-sized recreation of Homer's epic poem
Dip your toes into these Homeric movies before Christopher Nolan’s 'The Odyssey' ties us to its mast
A Bellocchio classic is retooled as a stifllng rich-brats' revenge story
A potential camera in every hand: SMart celebrates smartphone directors
Hitchcockian black comedy from Luis Buñuel’s Mexican period
Olivia Wilde's snappy comedy on the perennial subject of reviving a failing marriage
Kiss kiss, bang bang in a moving Middle East documentary
David Vann's acclaimed novella transposed to the screen with mixed results