Ivan Groznyy. Skaz vtoroy: Boyarskiy zagovor

1946 [RUSSIAN]

Action / Biography / Drama / History

18
IMDb Rating 7.7/10 10 8893 8.9K

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Plot summary

This is the second part of a projected three-part epic biopic of Russian Czar Ivan Grozny, undertaken by Soviet film-maker Sergei Eisenstein at the behest of Josef Stalin. Production of the epic was stopped before the third part could be filmed, due to producer dissatisfaction with Eisenstein's introducing forbidden experimental filming techniques into the material, more evident in this part than the first part. As it was, this second part was banned from showings until after the deaths of both Eisenstein and Stalin, and a change of attitude by the subsequent heads of the Soviet government. In this part, as Ivan the Terrible attempts to consolidate his power by establishing a personal army, his political rivals, the Russian boyars, plot to assassinate him.

Top cast

Mikhail Zharov as Czar's Guard Malyuta Skuratov
Pavel Kadochnikov as Vladimir Andreyevich Staritsky
Andrei Abrikosov as Archbishop Philip
Vsevolod Pudovkin as Nikolay the Fanatic
720p.BLU 1080p.BLU
706.94 MB
988*720
Russian 2.0
Not Rated
25 fps
1 hr 28 min
Seeds 2
1.26 GB
1472*1072
Russian 2.0
Not Rated
25 fps
1 hr 28 min
Seeds 14

Movie Reviews

Reviewed by CinemaSerf 8 / 10

Nikolay Cherkasov picks up well from where we

Nikolay Cherkasov picks up well from where we left the first part of Sergei Eisenstein's depiction of the life and times of this infamous Russian Tsar. Having now established a bit of stability for his country, he now tries to hold onto it. He now tries to establish an army to cement his reign whilst his aunt Efrosinia (Serafima Birman) still promotes the interests of her son Vladimir (Pavel Kadochnikov). With the help of the boyars who are also unhappy with his rule, they set about deposing him. Whereas part one was very much more about the rise of Ivan IV, this second episode also focuses a little more on the others, and Kadochnikov performs well as the would-be pretender as does Birman as his scheming mother and his friend "Philip" the monk (Andrei Abrikosov) whom he installs as the powerful Metropolitan Archbishop of Moscow. There are plenty of other rich character actors too amongst his soldiers, and some of the darkness and melancholy is replaced - partly by the use of colour intermittently throughout - with a sort of cinematic optimism. Again, the message of Russian (Soviet) unity is writ large, but here we start to see a little more of a benign-ness in the emperor. Sure, he still has his ruthless streak, but he is clearly looking forward more in this; not necessarily to a successor but to a strong and firm bedrock for the future of his country and it's people under his own, divinely inspired, control. The photography is intimate and striking; the facial expressions and wonderful score continue to imbue the characters with personas that no amount of deftly written dialogue could provide. That said, the dialogue is still sparing and effective and the pace moves along in a lively and interesting manner. It looks like an authentic glimpse into 16th century Russian court life, full of intrigues and plotting and I loved it just as much as the first part.
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Reviewed by frankde-jong 9 / 10

The part of Ivan the Terrible that Stalin did not like

"Ïvan the Terrible" (1944 and 1958) was made in the second part of the career of Sergeij Eisenstein. It was no longer the Eisenstein of the revolutionary movies ("Battleship Potemkin" (1925) and "Oktober" (1927)) with associative montage and short cuts. It was the Eisentein of historical drama's ("Alexander Nevski" (1938 and "Ivan the Terrible" (1944 & 1958)) with clearly noticable influences of German expressionism and long takes. Mainly due to the beautiful music of Sergei Prokofiev the movie takes on elements of a Wagnerian opera.

In part 2 of the film Ivan, maybe because of the death of his wife, becomes ever more suspicious and cruel. Stalin liked this part of the movie a lot less than the first part. Probably he recognized too much of himself in the character of Ivan and was afraid the moviegoer would make the same connection. Whatever it may be, the film was banished in Russia until 1958, 10 years after the death of Eisenstein and 5 years after the death of Stalin.

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