Mournful Unconcern (1987)
1h 50m
Running Time
February 1, 1987Release Date
Mournful Unconcern (1987)
1h 50m
Running Time
February 1, 1987Release Date
Network & Production Companies
Plot.
The action in this lavishly produced film takes place at an oddly ark-shaped mansion during World War I, and in spirit (although not in story) it reflects the play which inspired it, the ferociously antiwar Heartbreak House by George Bernard Shaw. A large group of family and friends have gathered at this country house to dance, drink, and converse. Their conversation, in particular, is adorned with erudite literary references and quotations. Despite their apparent refinement, their preoccupations are simple: sex and violence. Disquieting images break the tranquility of the vacationers' inappropriate idyll: some of these include documentary footage of starving African children, images (both real and re-enacted) of George Bernard Shaw going about his daily life, and a corpse coming to life on an autopsy table, only to cheapen that miracle by scolding a group of women. The music used in the film ironically points to its disturbing message and is uniformly anachronistic.
Where to Watch.
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Cast & Crew.
Ramaz Chkhikvadze
Captain Shotover
Tatiana Egorova
Hesione
Alla Osipenko
Ariadna
Alla Osipenko
Ariadna
Dmitry Bryantsev
Hector
Irina Sokolova
Nanny Guinness
Tatyana Yegorova
Gessiona
Vladimir Zamanskiy
Madzini
Media.
Details.
Release DateFebruary 1, 1987
Original NameСкорбное бесчувствие
StatusReleased
Running Time1h 50m
Genres
Last updated:
This Movie Is About.
human relationship
Wiki.
Mournful Unconcern (Russian: Скорбное бесчувствие, translit. Skorbnoye beschuvstviye) is the third produced film by Alexander Sokurov, completed in 1983, but the fourth released one, as it was banned by Soviet authorities until perestroika in 1987. The film, set during World War I, is inspired by Bernard Shaw's play Heartbreak House. Professional actors (Zamansky, Osipenko, Sokolova and others) were used alongside amateur actors, like in most early Sokurov films, and many of the trademarks of his cinematographic style were already apparent.
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