Michael Neumann It may be nothing more than highbrow cotton candy, but watching Timothy Hutton fall in and out of love with two beautiful women (while at the same time falling in and out of his vague Middle European accent) is an experience not without some incidental pleasure, silly as it is. Jerzy Skolimowski directed the multi-national (i.e. badly dubbed) cast, led by Hutton as a 19th century Russian aristocrat who (talk about bad luck) loves and loses both Valeria Golino and Nastassia Kinski. One is passionate and beautiful, the other is beautiful and passionate, and it's difficult to feel sorry for Hutton's mortal anguish in choosing between them The film abruptly ends just when the plot is beginning to thicken, but who needs narrative integrity with such romantic coffee table scenery, of ruined abbeys at dusk or horse drawn carriages gliding through misty tree-lined boulevards? The purple title and lush period setting make the film (based on an Ivan Turgenev story) a near perfect guilty pleasure, and it should be approached as such.

jamesericmcgee I'd like to read what women think of this feature. Every review I've seen so far completely misses the point including Roger Ebert's dead-wrong pan. Courage of conviction and lack of it bridge to each other here, though at different levels for different characters for very different reasons. The hues are gorgeous, and the music marries nicely. Experience this one your self. I've known very few people who have made similar choices in there lives and lived with those choices, so I'm not surprised that so many reviewers can't understand these characters. I would have stopped at "...music marries nicely..." but there is a ten line minimum.

MARIO GAUCI Stately period piece in the meticulous style of BARRY LYNDON (1975) - down to frequent shooting by candlelight - if done on a more intimate scale; actually the plot, adapted from a novel by Ivan Turgenev, is quite reminiscent of THE AGE OF INNOCENCE (1993). Still, it's not all solemnity and Skolimowski (who even appears, uncredited, in a brief but plum role) manages to insert his trademark irony and the odd visual touch on occasion! Timothy Hutton and Nastassja Kinski may not look Russian, but they aren't too bad under the circumstances - she being especially radiant as the cold-hearted but irresistible temptress; ingénue Valeria Golino, then, is the final component of the romantic triangle. Despite the obvious Russian setting, the film was mainly shot in Italy (being an Italian/French co-production) - to where it actually relocates for the melancholy finale, which takes place against the colorful backdrop of the Venice Carnival.The color utilized is generally muted and bathed in warm hues, with great care given to the lighting (most effective during a love scene inside a barn, set at dusk) - making the film's look and its overall period sense feel completely authentic. Though not usually linked with this type of film, Stanley Myers contributes a lovely score.

cwazybill This is a gorgeous movie. The photography is stunning. It develops stealthily into an unwilling and conflicted dual romance filled with good intentions, courage and traps. The participants confront their angels, then their equivalent personal demons. Later on, Sanin's (central male character) conflicts are portrayed as a subconscious journey in an eerie dreamland in which he tries to cope with inner conflicts and mysteries, and which, in the end, he is helpless to resolve, finally becoming totally dependent on time to do this for him. He is, despite all his worldly courage and altruism, weak in those things he loves most, paradoxically so, because they mean so much to him.The romantic scenes are intensely erotic, expanded more so, because of the beautiful photography.... even the sounds amplify the mood. This romantic and heroic Russian classic is a timeless story. Put it on film together with beautiful women, gorgeous photography, a far away place and time, and you have a film I think you will enjoy watching, and which may also have you asking a lot of questions about later.