First, full disclosure: I've seen Uncle Vanya performed by the Bolshoi Theater, and have read the play over a dozen times, in the original Russian. It is dear to me, and I have some rather definite ideas about what it is, and what it should be.
Having said that...I must say that while I really liked how the actors were filmed coming into the rehearsal area from the streets of NY, and thought that several deviations from Chekhov were appropriate and even inspired, and though I was awed by the acting of Shawn, Larry Pine, and especially Brooke Smith, ...I had a few problems with this production.
Above all--I had a problem with Yelena (played by Julianne Moore) as a giggling airhead. Was this the idea of Moore, or director Gregory, or of David Mamet, who altered the original play? It certainly wasn't Chekhov. Yelena certainly is, in some respects, empty, false, hollow. But having her giggle in response to Vanya's confessions of love is completely at odds with what Chekhov had in mind. She may not be entirely serious, but she does take other people seriously; and her reaction here is more like pity and disgust than like levity and thoughtless dismissal. Yelena is not an airhead valley-girl.
The other problem arises from how the play is shot as a movie. As noted by zetes below, theater and film are different media. Obviously Chekhov, who died in 1904, was writing only with the stage in mind. Hence some dialog is bound to be either too weak, or too strong (probably the former). And sure enough, while Brooke Smith is absolutely WONDERFUL as Sonya throughout, her final speech--which in the original play is rousing, inspiring, really uplifting--comes across as way too understated. On the stage, Sonya should give her "We will find peace!" speech at full pitch, packed with emotion; but if Smith had given such a delivery here, with camera in a close-up shot of her as she spoke, the effect would have been completely over-the-top. Her delivery is the best it can be, given the medium; but it's not what Chekhov intended.
All this aside, there is a lot to like here, and I'm glad I was able to find this at the video rental store.
Having said that...I must say that while I really liked how the actors were filmed coming into the rehearsal area from the streets of NY, and thought that several deviations from Chekhov were appropriate and even inspired, and though I was awed by the acting of Shawn, Larry Pine, and especially Brooke Smith, ...I had a few problems with this production.
Above all--I had a problem with Yelena (played by Julianne Moore) as a giggling airhead. Was this the idea of Moore, or director Gregory, or of David Mamet, who altered the original play? It certainly wasn't Chekhov. Yelena certainly is, in some respects, empty, false, hollow. But having her giggle in response to Vanya's confessions of love is completely at odds with what Chekhov had in mind. She may not be entirely serious, but she does take other people seriously; and her reaction here is more like pity and disgust than like levity and thoughtless dismissal. Yelena is not an airhead valley-girl.
The other problem arises from how the play is shot as a movie. As noted by zetes below, theater and film are different media. Obviously Chekhov, who died in 1904, was writing only with the stage in mind. Hence some dialog is bound to be either too weak, or too strong (probably the former). And sure enough, while Brooke Smith is absolutely WONDERFUL as Sonya throughout, her final speech--which in the original play is rousing, inspiring, really uplifting--comes across as way too understated. On the stage, Sonya should give her "We will find peace!" speech at full pitch, packed with emotion; but if Smith had given such a delivery here, with camera in a close-up shot of her as she spoke, the effect would have been completely over-the-top. Her delivery is the best it can be, given the medium; but it's not what Chekhov intended.
All this aside, there is a lot to like here, and I'm glad I was able to find this at the video rental store.