Russian Ark2002

Technically and visually impressive. The Hermitage is a natural, perfect movie set, and the costumes are beautiful. However, there isn't much here. The symbolism is obscured by sentimentality and martyrdom. In the wake of his friendship with Putin, anti-human rights views and disappointing lack of growth as a musician, the lingering fawning over Maestro Gergiev gives the film a different, perhaps unintended historic reference.

The Russian Ark, much like Russian history itself, never ceases to amaze. Sokurov's--outside of Mother and Son--crowning achievement. At the time the film was shot it was certainly innovative in the way it was shot tracking continuously with a Steadicam. But what makes the way Russian Ark was filmed stand out is the fact that it is not a gimmick, the fluidity of the camera as the viewer is led through Russian history creates a sense of urgency and reinforces the universal reminder that no one can stop time, and as the revolution grows closer the visceral experience that the unbroken long take was creating only escalates as the audience knows what is waiting outside The Winter Palace.

This totally lost me. I wanted to like it, but bailed out at 25 minutes. If someone makes it through, maybe they can throw out a trip-til for the rest of us.

This film is almost unique in it's respect for its audience. The director assumes at least basic knowledge of the subject, whether it be Russian history, architecture or European art, and he doesn't spoon-feed the facts as if the film were a documentary. Most of all, he doesn't want the viewer to be passive; Iooking into so many faces seemingly unaware of a camera, I was often swept away into a brief reverie about each individual's life and momentary enthusiasms. I returned to the memory of individuals after the finish. There are many movies to be seen within this one. The result is that I could watch Russian Ark again and again and it will never be the same!