The third film in director David Lean’s "How To Make An Epic" Trilogy, Doctor Zhivago followed The Bridge On The River Kwai and Lawrence Of Arabia. It may not carry the same critical cache today - some find it too soapy and less "important" - but it’s just as entertaining and just as impressive as his previous two epics. This period for Lean from ’57 to ’65 followed his rather dated Criterion Collection endorsed British period of the '40s and early '50s. And then his follow up to Zhivago five years later, Ryan’s Daughter, does not quite hold up today. But his follow up to that, his final film, the underrated A Passage To India in ’84, is rather interesting and showed the seventy-something director still working with all his powers, if not quite the scope.
Doctor Zhivago could be used for any class on film symbolism. It‘s constant: the leaves falling from the sunflower, the melted snow, the electricity of the cable cars, the deliberate use of the color red standing out among the drab colors. Robert Bolt’s concise script helps to spell out the character's feelings without the actors ever having to proclaim them. It all works to boil down Boris Pasternak’s epic novel of adultery before, during, and after the Russian Revolution. In terms of history class, along with Eisenstein’s Battleship Potemkin, Franklin Schaffner’s Nicholas And Alexandra, Warren Beatty’s Reds, and Woody Allen’s Love And Death, you have everything you could ever want to know about that period in Russia, or at least everything I know about it.Continue Reading
The Bridge on the River Kwai
After his weepy romantic travelogue Summertime, director David Lean took an evolutionary jump with The Bridge on the River Kwai, the first part of his super epic trilogy (followed by Lawrence Of Arabia and Doctor Zhivago). If The Great Escape is the ultimate German prisoner of war flick (with apologies to Stalag 17) then Kwai is the quintessential Japanese POW story. The performances are top notch—the British chameleon Alec Guinness deservedly won an Oscar for his powerful performance. As both a human drama, a giant war spectacular, and just a kick-ass action flick Kwai is still a hair-raiser with a famously shocking ending.
A cynical American POW named Shears (William Holden, cynical was his trademark in the fifties) watches Colonel Nicholson (Guinness) lead his British regiment into a Japanese camp deep in the harsh jungles of Burma (while whistling the “Colonel Bogey March” which became a hit record). There the prisoners working as slave laborers are building a military bridge, but Nicholson will not work and demands to keep his rank among his men. A battle of wills takes place between the overly proud Brit and the camp’s Japanese c...