REVIEW Soviet-Italian film a salute to romance DARK EYES. Starring Marcello Mas- troianni and Elena Sofonova. Directed by Nikita Mikhalkov. At local theatres. Anton Chekov was not the most mil- itant of the pre-revolutionary Russian wri- ters. His prose, much of it devoted to period pieces in which the foibles of the aristocracy were ridiculed; lacked the social punch of Turgenev or Tolstoy. Film goers wanting to see Dark Eyes, a collaboration between Soviet and Italian film makers and newly released for the Christmas season, should be aware of this and know that the film, based on several of Chekov’s short stories, is basically a rom- ance. But what a romance it is. Filmed lov- ingly amidst pastoral locations in Italy and the Soviet Union, director Nikita Mikhal- kov makes the magic between a weak but likeable Italian man, and a somewhat mysterious and semi-tragic Russian wo- man, work. The result is a film that may be slow-moving for some, but which pays off in the tug-at-the-heartstrings department. On the way through this illicit romance to its surprising conclusion, Mikhalkov and fellow screewriters Alexander Adab- achian and Suso Cecchi D’Amico sprinkle some of life’s lessons, most notably that there are rewards for those who stick to their goals. Acclaimed Italian actor Marcello Mas- troianni is the perfect male lead, playing the romantic Romano, a middle aged Romeo who has married into wealth and whose youthful ideals have been dissi- pated through self-indulgent living. Soviet actress Elena Sofonova is his love-interest, the dark-eyed Anna whom Romano meets while at the local health spa for some sexual liaisons. Anna is definitely someone different from Romano’s other partners. Obsessed when she disappears from the spa after a night of romance, leaving only a letter written in Russian, Romano devises a scheme allowing him to travel to Russia ostensibly on business. Much Chekovian amusement is wrought from the difficulties Romano has in seeking written permission to travel from Leningrad to Anna’s home village. Passing from bureaucrat to bureaucrat, the Italian gentleman becomes aware of the moribund bureaucracy that character- ized the Russia of Chekov and his con- temporaries (and which, the film may be telling us, is one of the challenges facing the glasnost and perestroika reforms today). When he arrives at the village, Romano is hailed as a hero by the townsfolk for his purported intention of locating a factory there to manufacture unbreakable glass. Finally breaking free of the wining, dining and speeches lavished upon the perceived economic saviour, he finds Anna. She’s the wife of the local governor. Mikhalkov’s camera, which mostly moves languidly through scenes of archi- tectural and natural beauty, becomes alive in a memorable scene during which Ramano pursues Anna through the gov- ernor’s mansion and outlying buildings. There, amidst the rustic ochres of a sunlit barn and the sounds of farmyard animals, he wrings from her the promise that she will leave her husband once Romano — who has regularly fled his home when things got too demanding — leaves Elisa (Silvana Mangano), his wife of several years. We learn all this through flashbacks narrated by a somewhat older Romano to a Russian traveller aboard an Italian cruise vessel. This has its purpose since periodic glimpses of the older Romano tease the audience with the question: what happened to the romance that seemed to promise moral salvation to a man who long ago abandoned any serious pursuits or commitments? Dark Eyes limits its. social commentary to some fleeting but memorable moments in which aristocrats — both Italian and Russian — treat their servants as little better than animals possessing the power of speech. These serve to punctuate a point that true gentility does not lie in a well- Marcello Mastroianni as Romano and Elena Sofone va as Anne in Dark Eyes. turned phrase or the ability to wear with grace the latest fashion, but in acts of dedi- cation and kindness. In Dark Eyes these recur briefly to be contrasted with, and refute, the artificiality and convention of the wealthy and the powerful. In two key scenes characters in the film show only their backs to the camera for long seconds, hiding something from the viewer. For Romano, what he hides and what he chooses to display are worlds apart, and make him both endearing and contemptible. He can flout convention with impunity — wading fully-clothed into a mudbath to gallantly fetch a lady’s hat — but seems incapable of breaking the bonds that hold his life in check. ‘The Russian ahd Italian cast give fine perfoxmances to ‘complement Mikhal- kov’s direction in this,award-winning pro- duction. Mikhalkov’s films — A Slave of Love, AnSUnfinished’ Piece for Player Piano — arelargely unknown to western audiences, but\the work of some of the Italian collaborators, such as D’Amico’s screenplays for La\Strada and Divorce, Italian style, are more familiar. Chekov’s fans — who should know that Dark Eyes is inspired by, rather than a faithful adaptation of, several short stor- ies — and romantics will find much to enjoy in this collaborative effort. — Dan Keeton Association of United Ukrainian Canadians Greetins to ur members and supporters for this holiday season. May the New Year be the year of peace throughout our planet. ‘Glasnost hits Vancouver screens mid-January © 20 Days Without War, Saturday, Jan. 16, 4 p.m. and Sunday, Jan. 17, 7:30 p.m. @ My Friend Ivan Lapshin, Saturday, Jan. 16, 7:30 p.m. and Friday, Jan. 22, 7:30 p.m. @ My English Grandfather, Saturday, Jan. 16, 9:30 p.m. and Friday, Jan. 22, 9:30 p.m. © The Plea, Sunday, Jan. 17, 2 p.m. and Monday, Jan. 18, 9:30 p.m. © The Wishing Tree, Sunday, Jan. 17, 4 p.m. and Thursday, Jan. 21, 9:30 p.m. © The Colour of Pomegranates, Sunday, Jan. 17, 9:30 p.m. and Thursday, Jan. 21, 7:30 p.m. © Games for Teenagers, Monday, Jan. The Vancouver East Cinema is promot- ing a 14-film package of Soviet offerings it says is a result of the cultural flowering under leader Mikhail Gorbachev’s policies of glasnost and perestroika. Beginning Jan. 15 and running until Jan. 24, the cinema will run as many as four films daily (two showings of each film) represent- ing productions the cinema’s management calls “glasnost-liberated,” including some in the “underground” category. Highlights include the first two films in the trilogy concluded by Repentance, a noted breakthrough from Georgian direc- tor Tenghiz Abuladze and an indictment of the worst years of former Soviet leader Josef Stalin. These are The Plea and The Wishing You are invited to the special Malanka (Ukrainian New Year) celebration, on Sat. Jan. 17, 1988. Cocktails 5 p.m./Dinner 7 p.m., $18/person, 805 E. Pender St. Tickets available at 805 E. Pender or phone 253-3082 or 253-8642. Peace and Friendship slree: 18, 7:30 p.m. and Sunday, Jan. 24, 2 p.m. among all The films and dates are: © The Dangerous Game, Tuesday, Jan. © A Lonely Woman is Looking for a Life Companion, Friday, Jan. 15, 7:30 p.m. and Sunday, Jan. 24 at 9:30 p.m. @ Farewell, Friday, Jan. 15, 9:30 p.m. and Saturday, Jan. 23, 9:30 p.m. (directed by Elem Klimov, new head of the Soviet Filmmakers Union). © Trial on the Road, Saturday, Jan. 16, 2 | p.m. and Sunday, Jan. 24, 7:30 p.m. 19, 9:30 p.m. and Sunday, Jan. 24, 4 p.m. — _ @ Messenger Boy, Tuesday, Jan. 19, 7:30 p.m. and Saturday, Jan. 23, 2 p.m. © Shadows of Forgotten Ancestors, Wed- nesday, Jan. 20, 7:30 p.m. and Saturday, Jan. 23, 4 p.m. © Legend of Suram Fortress, Wednesday, - Jan. 20, 9:30 p.m. and Saturday, Jan. 23, 7:30 p.m. 44 people. Canada-Cuba Friendship Association “* P.O. Box 69482, Stn. ‘K’, Van., B.C. VSK 4W6. 24 e PACIFIC TRIBUNE, DECEMBER 16, 1987