The Seagull

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I wish I could have taken a course on Russian Playwrights when I was in college, that way I could have some insight into Chekhov's psyche. Absent that, I will do my best with "The Seagull", one of Chekhov's most famous plays. As I said in the heading, it is about relationships, and peculiar in that everyone involved loves someone else. Without going into dizzying detail, this labyrinthine nature of the plot requires concentration, in the absence of a scorecard. The overall mood of the play is gloom and despair, as though love casts a pall over the proceedings. It is 1904, at a Russian mountain resort. Without going into painful detail (just read the website's storyline), there are at least four unhappy couples with their hearts in pain, and the main star is Annette Bening, who gives a terrific performance as an aging actress trying to stay young. Elisabeth Moss is a name I am unfamiliar with but she was excellent as a woman desperately in love with Bening's son (Billy Howle, out of his element here), who is in love with Saoirse Ronan. I'll stop here before it becomes confusing. All in all, the film is handsomely mounted and, as far as I can tell, faithful to the material. I wish I could have generated more feeling for the principals involved, but I grew restless waiting for an impactful scene.

Despite the stellar cast and lovely period setting, this movie fails to charm. I found myself losing patience with the spoiled, overly dramatic histrionics. It's hard to enjoy a movie when you want to slap some sense into half the characters.

SPOILER: The Seagull. Heart wrenching, hilarious, appalling, and the only one who gets out alive is the seagull, shot early on. So much ambition, so little success. From the estate staff, cooks, & caretaker to renowned stage and literary stars, breathtaking in life's limitations.

Haven't seen any of the stage or screen versions of the classic Anton Chekhov play, so I have nothing to compare this film to. With its very strong cast, I did think the drama offered enough to keep me engaged throughout, although I didn't feel a powerful connection to its characters for the most part. The interplay of the emotions and passions of its characters played out at a rather posh lakeside summer home in Russia, at the turn of the 20th century, appealed to me because I don't mind dialogue driven films and I wasn't expecting any kind of action flick. Overall, the movie is not perfect but there was enough here for me to be worth the watch.

In 1896, the great Russian story teller, Anton Chekov, couldn't have foreseen his plays being produced through moving pictures over a century later. This classy film adaptation of The Seagull shows that not only does the master translate to the screen well, but also his works are enhanced by a roving lens that carries nuance better that any Victorian stentorian could have hoped. Relatively-new film director Michael Mayer lyrically highlights with close-ups, quick cuts, and manipulated time the agony of unrequited love in a household where count can be lost of who loves whom, who doesn't love back. The most prominent mismatch is between aspiring and rich young actress Nina (Saoirse Ronan) and aspiring, idealistic young writer Konstantin (Billy Howell). Their innocence is compromised by an adult world, for instance, by the acclaimed writer Trigorin (Corey Stoll), who steals her from Konstantin, who is jealous but remains doggedly devoted to her. (Ronan and Howell do their anguished young lovers bit even better in On Chesil Beach.) And on and on as the web of lies and loss ensnares them all. Yet, an air of civility covers the entire proceedings, hallmarked by Konstantin's vain, acclaimed actress mother, Irina (Annette Bening), herself in a relationship with Trigorin. Irina stands best for Chekov's theme of the clash between classical theater and modernist imagination, exemplified by her son Konstantin's work, redolent of symbol and allegory and, oh, so self important. His outdoor play with a makeshift curtain evokes The Fantasticks with a little Midsummer Night's Dream but hardly the genius of either. Because Irina is not impressed with Konstantin's creativity, her young writer son is filled with despair. Everyone else seems to be able to go on, albeit with cascading tears and gloomy resignation. Although this drama may be dark, and Chekov is not known, after all, for his hilarity, witnessing it is a pleasant theatrical experience because we are all so darn fascinating when we become fools for love. Beyond that, the acting is some of the best you will see in cinema all year-even if it is grounded in 19th_ century Russian theater. Chekov lives on.

Now I realize that The Seagull is a play by Anton Chekov. However, I dont think it translated well onto screen or perhaps the director didnt translate it well onto screen. Just some of the dialogue and the way the actors delivered their lines didnt feel very natural. Like it felt at times that I was watching a play rather than a film. In film you can be more subtle and nuanced rather than on stage where you have to play for the person in the back row. I think the only person who really stood out to me was Elisabeth Moss who played Masha. And I love Saoirse Ronan but for me it just seemed like such a odd choice to cast her since she had to put on an American accent to play a Russian in the setting of Russia. Story wise it was ok. Very heavy handed with the symbolism. Which again, might be better suited in the play. For me, it picks up more in the second act. I think one of the more powerful moments is when Nina returns and speaks to Konstantin and the somewhat ambiguous ending. The costumes are beautiful as well the settings. It can be a pretty film to watch. But overall, I dont think this film really added anything new that I couldnt get out of seeing the show live. It was good but nothing you have to immediately run out and see either.

'The Seagull' is an entertaining adaptation of the Chekhov classic. Though the parts are greater than the sum, in this case, it's more than enough to recommend this as best enjoyed as a comedy ensemble piece about misplaced love and the misunderstandings that follow. Honestly, I went to see this for my favorite actress, Saoirse Ronan. And she soars in this! She plays a pivotal role, Nina Zarechnaya, who, as you will see when you watch this, is the living metaphor behind the titular meaning. Soarse is photographed as effervescent and luminous; and is stunning. Who wouldn't believe any man of any age wouldn't fall for her! I did, too! Saoirse perfectly shows Nina's naive determination to seduce Trigorin in exchange for similar fame as he has. The price of losing the young man who loves her, Konstantin, doesn't sway her ambitions. The film's coda allows Saoirse to show the end result of her ruthless determination to gain fame at any cost; and the results will break your heart as it did mine. Saoirse is absolutely brilliant here; as she transitions to mature adult roles. Overall, all of the characters endure their own love missteps and confusion, to both humorous and bittersweet results. Annette Bening is terrific as the aging actress, Irina, as is forever melancholy and bitter Masha, played by Elizabeth Moss, who crackles and has some great lines she vigorously chews thru! A great cast where the women stand out in all their parts and the men dutifully acquiesce.