Onegin

UK/USA 1998

Reviewed by Julian Graffy

Synopsis

Our synopses give away the plot in full, including surprise twists.

The early nineteenth century. Bored St Petersburg dandy Evgeny Onegin inherits his uncle's estate and decamps to the countryside. There he meets a neighbouring landowner, the young poet Vladimir Lensky, and through him the Larin family: widowed mother and daughters Tatyana and Olga.

Naive Lensky is engaged to flighty Olga but Tatyana, who is deep, is drawn to Onegin and writes him a declaration of love. At Tatyana's name-day party Onegin rejects her and flirts with Olga, which infuriates Lensky. They quarrel and Lensky challenges him to a duel. Lensky misses and Onegin shoots his opponent dead. A horrified Tatyana comes to visit him but he has left. Tatyana's mother introduces her into society and she marries a prince. Six years later, Onegin returns from his wanderings and is captivated by Tatyana's beauty and distinction. He now writes her a passionate letter. Though she still loves him she remains true to her husband.

Review

Onegin opens with a sequence of startling beauty of a horse-drawn carriage crossing a vast expanse of snow. It is perhaps the major distinction of first-feature director Martha Fiennes' film to have made the settings of this story - the melancholy birch groves; the country estates with their contrasting interiors (the Larins' house bright and lived in, Onegin's romantically bereft); the splendour of imperial St Petersburg; a scene of people skating on a frozen river - so consistently enthralling, a triumph of cinematography, lighting and production design. Fiennes wears her background in commercials and music videos lightly - Onegin is much more visually restrained than Mumu, the version of the Turgenev story directed last year by the Russian commercials director Yuri Grymov.

This film is also uniformly well acted, with Liv Tyler compelling as the brooding Tatyana, her still demeanour somehow suggestive of the dark passions swirling beneath the surface. Lena Headey is equally persuasive as the shallow, impetuous Olga, so physically like her sister and so emotionally different. There is a hilarious turn from Simon McBurney as the girls' oleaginous French tutor, and a memorable vignette from Irene Worth as the society grande dame Princess Alina. Executive producer Ralph Fiennes in the title role and Toby Stephens as Lensky also give thoughtful performances but both, alas, are about ten years too old for the parts they play. This renders Onegin precociously racked and seedy at the start, though it makes Fiennes persuasive in the (over-elaborated) concluding episodes. Lensky, however, is 18 in Pushkin's original and having him played by a noticeably older actor makes all his poetic petulance and hypersensitivity risible and exasperating without the saving grace of extreme youth. It also draws attention to the conventionality and predictability of the plot.

Martha Fiennes has spoken of her desire to keep as close as possible to the original story of Eugene Onegin, but as she (and every Russian schoolchild) knows, to concentrate on the plot is to risk banality, removing precisely what makes this verse-novel unique: the extraordinarily vivacious authorial commentary and the famous ironic and subversive digressions through which Pushkin paints a compendious picture of a society and an age.

This itself begs the question - who is this new Onegin for? The film got its world premiere in Moscow in June as a central part of the lavish celebration of the bicentenary of Pushkin's birth. It provoked great and respectful interest, partly because the Russian film commissioned to mark the anniversary, Aleksandr Proshkin's Russian Riot, an epic version of Pushkin's story 'The Captain's Daughter', was not completed in time, and partly because the Russians, whose cinematic history is littered with Pushkin adaptations, have never filmed Eugene Onegin (though there is a film version of Tchaikovsky's opera known as Ievgeny Onegin starring Galina Vishnevskaya, made in 1958).

So maybe the film's ideal audience is in Russia. But for Russians an Onegin without the familiar lines of poetry is not Onegin, and the various minor inaccuracies, such as a waltz danced to an orchestration of a famous Russo-Japanese War song, are inescapable and unsettling. In fact there was an earlier attempt to film Pushkin's Onegin, for the centenary of his death, in 1937 (the occasion of huge Soviet celebrations). The Formalist critic (and husband of Mayakovsky's lover) Osip Brik spent two years working on a script, even attempting to preserve the authorial voice by inventing a system of what he called "resounding surtitles" - lines of the poem in Pushkin's handwriting would appear briefly on screen while being simultaneously spoken by a narrator - but the project was eventually aborted.

Of course none of these problems would be apparent to most western viewers, who would not see rows of Russian graves on Manchurian hillsides as they listened to the (charmingly orchestrated) waltz. No, the danger with western audiences may be that they will wonder what all the Russian fuss is about, finding the story of love spurned and love lost melodramatic and predictable, and the wit only occasionally approaching the level sustained in recent film adaptations of Jane Austen.

Onegin, then, is a film for which the adaptation of the literary source presented fundamental difficulties, ones the Fiennes and their collaborators were well aware of and which had defeated their illustrious predecessors. In a sense the whole enterprise is a misguided act of literary piety. And yet its achievements are far from negligible. It is respectful and sincere; it is never less than visually splendid; and at its best it takes the romantic plot of Eugene Onegin into the realms of tragic grandeur.

Credits

Producers
Ileen Maisel
Simon Bosanquet
Screenplay
Peter Ettedgui
Michael Ignatieff
from the novel in verse Eugene Onegin by Alexander Pushkin
Director of Photography
Remi Adefarasin
Editor
Jim Clark
Production Designer
Jim Clay
Music
Magnus Fiennes
©Onegin Productions Limited
Production Companies
Seven Arts International presents a Baby Productions film
Developed with the assistance of Protagonist Film Corporation
Executive Producer
Ralph Fiennes
Production Supervisor
Lesley Stewart
Production Co-ordinators
Wendy Lilly
St Petersburg:
Bi Benton
St Petersburg Production Services
Globus Film
Production Manager:
Valery Yermolaev
Co-ordinator:
Elenor Yanbukhtina
Location Managers:
Natalya Smirnova
Alexi Zverev
Production Manager
St Petersburg:
Philip Kohler
Supervising Location Manager
Nick Daubeny
Location Manager
St Petersburg:
Harriet Earle
Post-production Supervisor
Miranda Jones
Researcher
Johanna Brownell
Assistant Directors
Tommy Gormley
Mark Layton
Sue Wood
Sarah Purser
Script Supervisor
June McDonald
Casting Director
Mary Selway
Tatyana & Onegin's Letters Translated/Adapted by
D.M. Thomas
Camera Operators
Jeremy Gee
2nd Unit Camera:
Alan Stewart
Steadicam Operator
Alf Tramontin
CGI Effects
Cinesite, Inc
Special Effects Supervisor
Dominic Tuohy
Special Effects
Effects Associates
Snow Effects
Snow Business
Art Directors
Supervising:
Chris Seagers
Globus:
Vera Zeliskaya
Set Decorator
Maggie Gray
Draughtspersons
Pippa Rawlinson
Paul Westacott

Scenic Artist
Steve Mitchell
Storyboard Artist
Tony Wright
Costume Designers
Chloe Obolensky
John Bright
Wardrobe
Supervisor:
Janet Tebrooke
Master:
Joe Hobbs
Globus:
Irina Kaverzina
Hair and Make-up Designer
Peter Owen
Make-up Artists
Chief:
Liz Tagg
Globus:
Tamara Frid
Chief Hairdresser
Paul Gooch
Titles
Frameline
Optical Effects
General Screen Enterprises
Music for Nikitin Ball
Performers:
Parley of Instruments
Arranger/Conductor:
Peter Holman
Featured Musicians
Duduk Player:
Jivan Gasparyan
Piano:
Maya Fiennes
Guitar:
John Themis
Balalaika:
Bibs Ekkel
Loyko The Russian Gypsy Band
Orchestra Leader
Gavyn Wright
Orchestration/Conductor
Brian Gascoigne
Music for Larin Name Day
Arranger/Conductor:
Jason Osborn
Music Supervisor
Julian Hope
Mixer/Additional Engineer
Pete Lewis
Engineer
Angel Studios:
Steve Price
Soundtrack
"Mir ist so wunderbar" from the opera "Fidelio" by Ludwig van Beethoven, performed by Ingeborg Hallstein, Christa Ludwig, Gerard Unger, Gottlob Frick and The Philharmonia Orchestra, conducted by Otto Klemperer; "Le Colporteur" by Sarah Gorby; "Gelder Rose in Bloom" by Isaac Dunayevsky, Julian Hope, performed by Toby Stephens, Lena Headey
Choreography
Eleanor Fazan
Additional Sound Design
Nick Franglen
Production Sound Mixer
Ivan Sharrock
Re-recording Mixers
Dean Humphreys
Craig Irving
Tim Cavagin
Dialogue Mixer
John Bateman
Supervising Sound Editor
Eddy Joseph
Dialogue Editors
Mike Wood
Matt Grime
ADR
Editor:
Nina Hartstone
Foley
Artists:
Pauline Griffiths
Paula Boram
Foley
Mixer:
Ed Colyer
Editors:
Peter Holt
Peter Elliott
Russian Adviser
Tania Alexander
Russian Etiquette Consultant
Natasha Franklin
Stunt Co-ordinator
Terry Forrestal
Armourer
Bapty's and Company
Cast
Ralph Fiennes
Evgeny Onegin
Liv Tyler
Tatyana Larin
Toby Stephens
Vladimir Lensky
Lena Headey
Olga Larin
Martin Donovan
Prince Nikitin
Alun Armstrong
Zaretsky
Harriet Walter
Madame Larina
Irene Worth
Princess Alina
Jason Watkins
Guillot
Simon McBurney
Triquet

Gwenllian Davies
Anisia
Margery Withers
Nanya
Geoff McGivern
Andrey Petrovitch
Tim McMullan
Tim Potter
dandies
Elizabeth Berrington
Mlle Volkonsky
Ian East
executor
Richard Bremmer
diplomat at ball
Chloe Elise Hanslip
child violinist
Marion Betzold
ballerina
Chris Lee Wright
the hussar
Tom Eastwood
Onegin's uncle
[uncredited]
Francesca Annis
Katiusha
Certificate
12
Distributor
Entertainment Film Distributors Ltd
9,554 feet
106 minutes 9 seconds
Dolby
Colour by
DeLuxe
Last Updated: 20 Dec 2011