meeting between Tchekov and Mikhalkov. so, a splendid moment. because this film is not exactly an adaptation. or support for one of a Russian image. it is a gem, fragile and delicate, precise and seductive, in which each piece is placed at perfect place. after the end, essential is its favor. gloomy stories, wise performance, the eyes of a child in middle of adults storm. change of sense and the dark clouds of revolution. fragility and need of guarantees. silhouettes of characters as shadows. and the games of normality who must cover the holes of reality. a film , like many by Mikhalkov, who represents only translation of a profound search of ideal in common reality. short - the story of Oblomov in different clothes.

Constantly this film makes you reflect on your own life, your relationships, your place in the world.This slice of life depicts a day in the life of Russian gentry in the late 19th century, warts and all. They're silly and pensive, boring and fascinating, shallow and profound--in short, a mass of contradictions, like most people really are. If the theme is the path taken, the plot is a glimpse of the path NOT taken.The photography is gorgeous, and the direction and editing are flawless. What makes the film, what really puts it over, are the superb, subtle, multi-dimensional performances. There is a scene toward the end of the movie where a character goes careening down a hillside, descending into a fit of madness. The camera just observes, but the scene is completely and totally surreal wholly because of the actor's performance. I cannot recall seeing anything like it ever, either in content or skill. And the last shot of the movie is absolutely breathtaking in its simplicity, innocence, and composition. Movies don't get much better than this one.

A truly great film. Without cloying sentimentality, Mikhalkov portrays a village teacher and a doctor undergoing various stages of emotional breakdown, in this adaptation of the works by Anton Chekov. A village teacher believes his life has had no intent. Hence he is driven to despair and in effect to torment both himself and his young wife. The film's another protagonist - a doctor – hates his patients and his work. The guests staying with a general's wife, are talking about the delights of a simple village life, not really convinced by what they are saying. The classical style chosen by Mikhalkov and the masterful cinematography combine to make this film a real treasure for the lovers of Russian classics. Classical music ( by G. Donizetti, F. Liszt, and S. Rachmaninov ) proliferates throughout, adding to the unforgettable qualities of this captivating drama.

The excellent scenario by Alexander Adabashyan is composed from an early Chekhov's play 'Platonov' together with some unpublished Chekhov stories and diaries. The story of Platonov (Alexander Kalyagin) disillusionment and loosing the love of his youth is created with a great skill. The perfect selection and performance of cast, subtle camera-work and a beautiful Russian nature as a background make film extremely enjoyable and convincing.The portrayal of pre-revolutionary 'intelligentsia', the degraded nobility and arising peasants bourgeoisie is full of bitter sarcasm and irony, unfortunately comprehensible only to those familiar with Russian culture and language. The ostensible conflict between old stiff nobility and impotent trendy younger gentry movement - narodniks (populists) is shown with a splendid humor by two brilliant actors: Yury Bogatyryov (Sergei Voynicev) and Oleg Tabakov (Pavel Petrovich Sherbuk). One can easily see how much similar they are in fact.This one of the best Nikita Mikhalkov's films is full of nostalgia and apprehensions about the role and fate of intelligentsia in the subsequent history of Russia. One can clearly sense the decline and decadence of pre-revolutionary life with the deep filling of oncoming tragedy hanging over the people, still enjoying their life as much as they can.