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Jiuna “ Mpoucmectsua B 9TOM (UJIbMe BbIMbIIIIeCHbI uM Bcakoe Toz00nNe Ha HacTOAMmMe Mla COBCeM HE CIUYYAMHOE? occ
If the movies’ main means of expression has always been the narrative or story, then it comes as no surprise that for countless great dramatic scenes, history provided the obvious sources. The fall of empires, battles encompassing huge landscapes, the triumph (and inevitably death) of tyrants, all were grist for the scenarists’ fictional mill. And certainly nothing was better suited for movie treatment than The Fall of the Romanovs. (Even this title sounds widescreen and stereophonic.)
Movie people, however, seem to have favored Rasputin. Six films have been made which concentrate on the influence of the mad monk, explaining the triumph of the revolution by showing Rasputin’s power over the Royal Family, causing them to neglect and misjudge their beloved Russia.
In 1930 Conrad Veidt played the healer in a German effort called Rasputin.
Harry Baur played in a 1938 French film with the same title. And recently there was the 1960 Italian production Nights of Rasputin (presumably his days were relatively boring and chaste), a British opus quietly titled Rasputin the Mad Monk (1966), and even Goldfinger himself, Gert Frobe, appearing in / Killed Rasputin (no suspense about that film’s ending).
But from time to time a film appeared which focused on the end of the Romanov dynasty and the repercussions in the future. The most illustrious of these were Rasputin and the Empress (1932), the only film to feature roles by all the Barrymores, and Anastasia (1956). And in 1972 we are to see Nicholas and Alexandra, based on the bestseller by Robert K. Massie.
Rasputin and the Empress was made by MGM in their usual lavish fashion. But the studio felt the expenditure was worthwhile, for
* Events and characters in this film are factual, and any resemblance to persons living or dead is purely intentional.
Mrs. Eugenia Smith the ‘real’? Anastasia.
_ Ethel and John Barrymore :
prepare for a scene in the 1932 production Rasputin and the Empress.
Ingrid Bergman, as the pretender Anna Anderson in the 1956 film Anastasia, ponders the photo of the Tsar’s family in a New York shop window.
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