each occasion when you see again. because it is more than a well known story. and it is more than exploration of a hypothesis. it is a beautiful Litvak. for the wise choices for the each role. for atmosphere. and, especially, for the music. a film impressive for less a magnificent scene - the meet between Ingrid Bergman and Helen Hayes. and for the science to use Yul Brynner in inspired manner. and, sure, for the performance of Martita Hunt. it is a surprising film for its modernity. for subtle way to be a game of appearances, love, desires. and, sure, for the end. a good support for reflection. about history, people and deep purposes.

Sure, 'Anastasia' may be inaccurate, especially with DNA and forensics confirming the real fate of Princess Anastasia around 2007 (well after the numerous film adaptations based on the fascinating "what if" story were made, of which this is one). This said, it is a well done and interesting, if imperfect film on its own merits.While it is not quite one of her best performances (in a career that includes her timeless performances in 'Casablanca' and 'Gaslight'), Ingrid Bergman is nonetheless exceptional in the title role, bringing equal vulnerability and dignity with intelligence, poise and nuance. People will argue whether she deserved the Oscar or not, part of it may be due to it being a comeback performance or for personal reasons but also the Academy could also have thought it that good a performance, personally have nothing against her winning while thinking that she has been better.Yul Brynner is similarly very good, portraying Bounine with some subtle menace but also authority, wit and likability. If 'Anastasia' was released in a different year to his Oscar-winning turn in 'The King and I' (a case of him dominating that film in a more colourful role than here, and the chemistry between him and Deborah Kerr was stronger than between Bergman) he would most likely have gotten some kind of award nod (not since 1942 with Teresa Wright in 'The Pride of the Yankees' and 'Mrs Miniver' was the same actor nominated in the same year for more than one film).One mustn't overlook Helen Hayes (also in a "comeback" performance though for different reasons to Bergman, having suspended her career due to her daughter's death and her husband's health), who gives a powerful and poignant performance as the Empress, a role so far removed from her usual roles. If there was one performance that deserved an Oscar or at least a nomination it was Hayes, and that she didn't is something of an enigma. Nor the delightful scene-stealing of Martita Hunt.The acting is not the only reason to see 'Anastasia'. The film is very well made, with exquisitely opulent costumes that give a real sense of time and place, sumptuous scenery of London, Copenhagen and Paris and positively luminous cinematography. Alfred Newman's music score is one of his most stirring and beautifully orchestrated, in a career full of scores of both those qualities.Much of the script is witty, literate and clever, if at times a bit rambling, largely succeeding too in putting flesh on the bones. Most of the story is gripping, helped by that the story it's based on is one of the most intriguing there is, especially telling are the scenes between Bergman and Hayes, very powerfully written, emotional and beautifully performed by both actresses.'Anastasia' for all these great things is not perfect. The ending does feel abrupt and it felt somewhat of a cheat for the point of the story to be left ambiguous. It may have been due to being careful not to offend but this was a kind of story that deserved to have that question answered, and to be perfectly honest ambiguous/open to interpretation endings tend to generally not do it for me.Was expecting more chemistry between Bergman and Brynner, which comes alive in the dialogue and the delivery but not on screen between them. It's all well played and competent with some wit, but one misses the fire, love and passion which was clearly meant to be there but doesn't quite come alive here. Some of the pacing drags too, with the workmanlike and sometimes impressive but too often undistinguished and too measured direction not helping.Overall, not perfect but interesting and very well done on the whole. 7/10 Bethany Cox

Not the most accurate rumination on whether or not Anna was really Anastasia, perhaps, but creamy, expensive entertainment, expertly done. Many share in the credit. There's a witty, epigrammatic screenplay by the always reliable Arthur Laurents (love that closing line, and most of Helen Hayes' dialogue) that manages to speculate perceptively on the nature-of-performance theme without beating it into the ground; an evocative Alfred Newman score that surpasses virtually anything else he did at Fox; fine CinemaScope photography that really uses the outer reaches of the screen, though it does dabble in spectacle for spectacle's sake at times; a superb Hayes (she could be theatrically actressy or resort to little-old-lady tricks in other movies, but here she's the real deal); a delightful Martita Hunt; and chemistry between Ingrid Bergman and Yul Brynner that suggests all the underlying sexual tension without ever stating it explicitly. Also knock-your-eye-out costume design. In a time of rampant Hollywood bloat and slow-moving epics, this one moves along, without too much pretension. And Anatole Litvak's direction, while no great shakes, is nicely paced.

Critics were too quick to applaud this musty adaptation of Marcelle Maurette's play starring Ingrid Bergman as a rag-woman picked by crafty businessman Yul Brynner to be groomed into Russian royalty Anastasia, a Duchess long though deceased. Helen Hayes is exceptionally good as the cautious Dowager Maria, whom Ingrid must work hard to convince, however Bergman herself (despite winning a Best Actress Oscar for this 'comeback' performance) is mannered, and she has no on-screen rapport with Brynner whatsoever. As a result, the romantic underpinnings of the story do not come off, and the thin plot keeps going after all its pieces have already come into play. The production is appropriately opulent, but the film isn't especially moving or memorable. ** from ****