jdesando In 1896, the great Russian story teller, Anton Chekov, couldn't have foreseen his plays being produced through moving pictures over a century later. This classy film adaptation of The Seagull shows that not only does the master translate to the screen well, but also his works are enhanced by a roving lens that carries nuance better that any Victorian stentorian could have hoped. Relatively-new film director Michael Mayer lyrically highlights with close-ups, quick cuts, and manipulated time the agony of unrequited love in a household where count can be lost of who loves whom, who doesn't love back. The most prominent mismatch is between aspiring and rich young actress Nina (Saoirse Ronan) and aspiring, idealistic young writer Konstantin (Billy Howell). Their innocence is compromised by an adult world, for instance, by the acclaimed writer Trigorin (Corey Stoll), who steals her from Konstantin, who is jealous but remains doggedly devoted to her. (Ronan and Howell do their anguished young lovers bit even better in On Chesil Beach.)And on and on as the web of lies and loss ensnares them all. Yet, an air of civility covers the entire proceedings, hallmarked by Konstantin's vain, acclaimed actress mother, Irina (Annette Bening), herself in a relationship with Trigorin. Irina stands best for Chekov's theme of the clash between classical theater and modernist imagination, exemplified by her son Konstantin's work, redolent of symbol and allegory and, oh, so self important. His outdoor play with a makeshift curtain evokes The Fantasticks with a little Midsummer Night's Dream but hardly the genius of either.Because Irina is not impressed with Konstantin's creativity, her young writer son is filled with despair. Everyone else seems to be able to go on, albeit with cascading tears and gloomy resignation. Although this drama may be dark, and Chekov is not known, after all, for his hilarity, witnessing it is a pleasant theatrical experience because we are all so darn fascinating when we become fools for love. Beyond that, the acting is some of the best you will see in cinema all year-even if it is grounded in 19th_ century Russian theater. Chekov lives on.

mr_bickle_the_pickle Now I realize that The Seagull is a play by Anton Chekov. However, I dont think it translated well onto screen or perhaps the director didnt translate it well onto screen. Just some of the dialogue and the way the actors delivered their lines didnt feel very natural. Like it felt at times that I was watching a play rather than a film. In film you can be more subtle and nuanced rather than on stage where you have to play for the person in the back row. I think the only person who really stood out to me was Elisabeth Moss who played Masha. And I love Saoirse Ronan but for me it just seemed like such a odd choice to cast her since she had to put on an American accent to play a Russian in the setting of Russia.Story wise it was ok. Very heavy handed with the symbolism. Which again, might be better suited in the play. For me, it picks up more in the second act. I think one of the more powerful moments is when Nina returns and speaks to Konstantin and the somewhat ambiguous ending. The costumes are beautiful as well the settings. It can be a pretty film to watch. But overall, I dont think this film really added anything new that I couldnt get out of seeing the show live. It was good but nothing you have to immediately run out and see either.

rockman182 We get a nice double weekend of Saoirse Ronan this month with The Seagull and On Chesil Beach (for film lovers who scope out the lesser heard of films). On Chesil Beach is the film that I'm really anticipating but The Seagull was the first stop. Went in blind to this one without even seeing the trailer. The film is based on the Russian play of the same name, by Anton Chekov. Not sure how faithful the film is to its literary source but I was mixed on the presentation in the film.The film is about an aging actress and her lover who go to visit her brother in the summer. Her son is a struggling playwright who struggles to strive for his moms acceptance. He is in a relationship with a young neighborhood girl (played by Ronan). She falls in love with the lover of the aging actress, who himself falls for her. That might have been the worst explained synopsis I've ever written. Its much easier to understand while watching the film.The film posts great set design, cinematography, and costume design. The film looks of its locale and time period. I'm not familiar with any of Michael Mayer's work but I'm sure his background in theater direction helps with the aesthetics of the film. The film also boasts a rather terrific cast. Along with Ronan we get a very good Annette Bening and an unfortunately underutilized Elisabeth Moss. There is slight humor here and there which bring chuckles but overall its not so easy to care for the labored love of the characters or their relationship.I guess for me I wasn't a gigantic fan of the source material and found it hard to place the importance of the adaptation of this story. It's still very respectably made and well acted, it just isn't something that spoke to me or left a lasting impression. Moss was one of the better characters (along with her lover) and they don't get enough screen time. Its often fun but not always compelling, unfortunately.6/10

GManfred I wish I could have taken a course on Russian Playwrights when I was in college, that way I could have some insight into Chekhov's psyche. Absent that, I will do my best with "The Seagull", one of Chekhov's most famous plays. As I said in the heading, it is about relationships, and peculiar in that everyone involved loves someone else. Without going into dizzying detail, this labyrinthine nature of the plot requires concentration, in the absence of a scorecard.The overall mood of the play is gloom and despair, as though love casts a pall over the proceedings. It is 1904, at a Russian mountain resort. Without going into painful detail (just read the website's storyline), there are at least four unhappy couples with their hearts in pain, and the main star is Annette Bening, who gives a terrific performance as an aging actress trying to stay young. Elisabeth Moss is a name I am unfamiliar with but she was excellent as a woman desperately in love with Bening's son (Billy Howle, out of his element here), who is in love with Saoirse Ronan. I'll stop here before it becomes confusing.All in all, the film is handsomely mounted and, as far as I can tell, faithful to the material. I wish I could have generated more feeling for the principals involved, but I grew restless waiting for an impactful scene.