After filming part I of "Ivan" in his classical vein, with his mastery of the silent era still finely honed, Eisenstein had a much different vision for Part II. It is nothing short of his Wagnerian opera, albeit with a score by the master Prokofiev, with all the surreality and hysteria inherent in opera. It is also his most modern film, with the brilliant kinetic color sequence of the banquet, surely one of the most famous and astounding scenes ever filmed. Shot in the dire depths of World War II, in 1944-45, it is like all Russian films passionately nationalistic, but perhaps it was too Wagnerian for Stalin, who hated it, demanded Eisenstein repudiate it, which not only prevented the master from filming the 3rd part of his trilogy, but destroyed his career and health.
For modern audiences, particularly postmodern audiences, the film has the stagy melodramatic acting, pacing and movement of the silent era that videodrones and harrypotters will never appreciate. But out of the melodramatic style unfolds the most emotionally honest drama, however larger than life and on a grand historical canvas.
For modern audiences, particularly postmodern audiences, the film has the stagy melodramatic acting, pacing and movement of the silent era that videodrones and harrypotters will never appreciate. But out of the melodramatic style unfolds the most emotionally honest drama, however larger than life and on a grand historical canvas.