The Essentials
Synopsis
Promising young surgeon Yuri Zhivago is happily married to a wife from a good family when a world war, the Russian
Revolution and his growing passion for the beautiful Lara disrupt their
lives. Though Lara inspires his greatest poetry, they are kept apart
by the forces of history until Zhivago defies the Soviet government to flee
with his love to the snowbound countryside of his youth. There, they
snatch a few moments of happiness until she vanishes with their infant
daughter, leaving Zhivago to spend the rest of his life searching for her.
Years later, his half-brother, Yevgraf, tracks down a young factory worker
who knows little of her past except for her passion for music and poetry which
she inherited from her father, Yuri.
Director: David Lean
Producer: Carlo Ponti
Screenplay: Robert Bolt
Based on the novel by Boris Pasternak
Cinematography: Freddie Young
Editing: Norman Savage
Art Direction: John Box
Music: Maurice Jarre
Cast: Omar Sharif (Yuri Zhivago), Julie Christie (Lara), Geraldine Chaplin
(Tonya), Rod Steiger (Komarovski), Alec Guinness (Yevgraf), Tom Courtenay
(Pasha), Ralph Richardson (Alexander Gromeko), Siobhan McKenna (Anna
Gromeko), Rita Tushingham (The Girl), Klaus Kinski (Kostoyed), Jack
MacGowran (Petya)
C-180m.
Why Doctor Zhivago is Essential
Doctor Zhivago was the first major western film to capture the
turmoil of the Russian Revolution, leading the way for such later epics as
Nicholas and Alexandra (1971) and
Reds (1981).
Doctor Zhivago was the second of three films teaming David Lean
with playwright Robert Bolt. Bolt had previously saved the
Lawrence of
Arabia (1962) script. Their third collaboration would be
Ryan's
Daughter (1970), starring Bolt's wife, Sarah Miles.
This was the third of four films Lean made with composer Maurice Jarre.
The others were
Lawrence of Arabia,
Ryan's Daughter and
A
Passage to India (1984). Jarre won Oscars® for all his Lean
collaborations except
Ryan's Daughter.
Along with the reissue of
Gone With the Wind (1939),
Doctor
Zhivago saved MGM from bankruptcy in the mid-'60s.
Doctor Zhivago marked a new path for the historical epic.
Previous films had simply focused on the scope of world-shaping events.
With
Zhivago director David Lean and scriptwriter Robert Bolt
brought a new romantic sensibility to the epic. That Victorian ideal would
inform such later blockbusters as
Mary, Queen of Scots (1971),
Lady Gray(1986) and
Titanic (1997).
by Frank Miller
Pop Culture
Pop Culture 101 - DOCTOR ZHIVAGO
Doctor Zhivago's costumes inspired the "Zhivago Look" for
designers like Yves St. Laurent and Christian Dior. Fur trims, silk
braiding and boots came back into fashion thanks to the film.
Also returned to fashion by the film's success was facial hair. Beards
and mustaches were in, just in time for the counter-culture revolution of
the late '60s.
Maurice Jarre's soundtrack album for
Doctor Zhivago was one of
the best-selling film soundtracks of all time, selling more than 600,000
copies.
The film's popular theme, "Lara's Theme (Somewhere, My Love)," has
traveled around the world. Jarre claims to have heard it everywhere from a
gondola in Italy to Central Africa, where it was played on tribal
instruments.
If you or someone you know were born after 1965 and are named "Lara" (spelled as such),
you can thank
Doctor Zhivago. Until the film' s success, the name
was rarely found outside of Russia.
Four documentaries have tried to capture the gargantuan production that
brought
Doctor Zhivago to the screen. Three short films from 1965
--
David Lean's Film of Doctor Zhivago,"
Zhivago: Behind
the Camera With David Lean and
Moscow in Madrid -- were little more than
extended promotional pieces for the film. A longer film made for
television in 1995, "
Doctor Zhivago: The Making of a Russian Epic,"
features narration by Omar Sharif. It includes interviews with Robert
Bolt, Geraldine Chaplin, Maurice Jarre, Rod Steiger and Olga Ivinskaya, the
woman on whom Boris Pasternak based the character of Lara. It is currently
included with the supplementary materials on the DVD of the film.
In 2002,
Doctor Zhivago became a miniseries in Great Britain.
Newcomers Hans Matheson and Keira Knightley (later the star of
Pirates
of the Caribbean and
Love Actually, both 2003) played Zhivago and Lara.
Like the classic film version, the production was not shot in the Soviet
Union. The closest the crew got was Prague and Slovakia. It aired in the
U.S. on PBS outlets in 2003 to mixed reviews.
by Frank Miller
Trivia
DOCTOR ZHIVAGO - Trivia and Other Fun Stuff
David Lean's epic film was not the first adaptation of
Doctor
Zhivago. In 1959 a mini-series based on the book aired on Brazilian
television. It was shot in Portuguese.
Boris Pasternak's novel was 512 pages long. A film incorporating every
scene in the novel would run 52 hours. David Lean's film version ran 197
minutes at its premiere and 180 minutes in general release. The 2002
British miniseries runs 485 minutes.
It took two planes to carry the production team and equipment to
Finland to shoot
Finland was the closest the production would come to the USSR. Some
scenes were shot just 75 miles from the Soviet border.
Although their pairing sizzled on-screen, Omar Sharif and Julie
Christie barely connected off-screen. He complained about her habit of
eating fried egg sandwiches during breaks in the shooting, which he found
distinctly unromantic. For her part, when questioned about their work
together 17 years later, Christie said, "He was charming, but otherwise I
don't remember anything about him really...I can't even remember if I have
ever met him since."
Omar Sharif's son Tarek played the young Zhivago. Sharif even directed
his scenes as a way of getting closer to the character. The star agreed to
the casting on condition no photos of the boy be used in publicity. He
didn't want to interfere with the boy's childhood. When other film offers
came in for Tarek, Sharif turned them all down.
Make-up artists taped back Omar Sharif's eyes to give him a more
Russian look.
The ice for the "ice palace" -- the abandoned, frozen country estate in
which Zhivago and Lara share their final days of happiness -- was made
mostly from wax.
,br>
The production crew for
Doctor Zhivago consisted of 120
plasterers, 210 carpenters, 60 masons, 25 tubular steel specialists, 30
painters, 20 electricians and more than 300 back-up
technicians.
The film used 10,000 extras, 3,500 of them in the Moscow street
scenes.
In one scene of social unrest before the Russian Revolution, the extras
were so convincing that police swarmed the set thinking they were stopping
an uprising against General Franco.
It took an orchestra of 110 to record the film's score. Twenty-two of
them were balalaika players.
FUN QUOTES FROM DR. ZHIVAGO (1965)
"If they were to give me two more excavators, I'd be a year ahead of the
plan by now."
"You're an impatient generation." -- Mark Eden as the Engineer showing Alec
Guinness as Yevgraf the future of the Soviet Union.
"Good marriages are made in heaven...or some such place." -- Ralph
Richardson as Gromeko.
.
"Who are you to refuse my sugar? Who are you to refuse me anything?" --
Rod Steiger as Komarovski attacking Julie Christie as Lara for refusing his
advances.
"Now, that your tastes at this time should incline towards the juvenile is
understandable; but for you to marry that boy would be a disaster. Because
there's two kinds of women. There are two kinds of women, and you, as you
well know, are not the first kind. You, my dear, are a slut" -- Steiger as
Komarovski puncturing Lara's dreams.
"What happens to a girl like that when a man like you is finished with her?"
"You interested?...I give her to you, Yuri Andreavich. Wedding present."
-- Omar Sharif as Zhivago asking Steiger about Lara's future.
"They rode them down, Lara. Women and children begging for bread. There
will be no more 'peaceful' demonstrations." -- Tom Courtenay as
Pasha.
"If we'd had children, Yuri, would you like a boy or girl?"
"I think we may go mad if we think about all that."
"I shall always think about it" -- Lara and Zhivago dream of what might
have been.
"Tonya, can you play the balalaika?"
"Can she play? She's an artist!"
"Ah, then it's a gift." -- Yevgraf receiving confirmation from the Engineer
that Tonya (Rita Tushingham) is Zhivago and Lara's daughter.
Compiled by Frank Miller
The Big Idea
The Big Idea Behind DOCTOR ZHIVAGO
Boris Pasternak was born in Moscow in 1890, the son of a celebrated
portrait painter and a concert pianist. One of his influences as a child
was composer Alexander Scriabin, a friend of his mother's.
Pasternak first built his reputation as a poet and translator
(particularly of Shakespeare's plays). In 1945, he started work on
Doctor Zhivago, drawing on his own experiences during the Russian
Revolution and his romance with Olga Ivinskaya.
Nine years later,
Doctor Zhivago was accepted for publication by
the Soviet Union's State Publishing House, then banned as a vehicle for
"hatred of Socialism."
When the novel was smuggled into Italy, the foreign rights were sold to
an Italian publisher who declined orders to return the manuscript to the
Soviet Union for revisions. He published the book in September 1957. The
American edition was published by Pantheon Books in September
1958.
Doctor Zhivago was translated into 18 languages before it was
published in the Soviet Union.
Pasternak won the Nobel Prize in Literature in 1958 for both his poetry
and the novel
Doctor Zhivago. Under pressure from the Soviet Union,
he chose not to attend the awards ceremony "in view of the meaning given to
this honor in the community to which I belong."
When the Nobel Prize Committee announced their choice, Soviet critics
damned Pasternak as a "traitor," a "malevolent Philistine," a "libeler," a
"Judas" and an "extraneous smudge in our Socialist country." He was also
expelled from the Soviet Writers' Union and his former mistress, Olga
Ivinskaya, was arrested.
Pasternak never lived to see the Soviet Union change its official
opinion of his work. He died of lung cancer in 1960.
Despite the Soviet ban on the novel, foreign editions were smuggled
into the country, and a typewritten version was distributed by an
underground do-it-yourself publishing network. As a result, the book
attracted a devoted following among younger Soviets who established a
tradition of yearly pilgrimages to Pasternak's grave.
Winning out over several other producers Carlo Ponti bought the film
rights to
Doctor Zhivago from its Italian publisher in
1963.
At the time, David Lean was the only director who seemed capable of
pulling off such a large-scale production. On the strength of his
international success with
Lawrence of Arabia, Ponti hired him and
gave him complete artistic control.
Lean was attracted to the project because after two films with no
female characters (
The Bridge on the River Kwai [1957] and
Lawrence of
Arabia) he wanted to get back to a film with a love story. One of his
biggest early hits had been
Brief Encounter (1945), which, like
Doctor Zhivago, told a classic tale of doomed love.
He agreed to do the film on condition that Robert Bolt, who had written
Lawrence of Arabia write the script.
Although time constraints made it impossible to use more than about
1/24th of the novel, the biggest change Bolt made was to add a framing
story in which Zhivago's half-brother, Yevgraf (Alec Guinness), tells the
story of Zhivago and Lara to a girl (Rita Tushingham) who could be their
long-lost daughter.
by Frank Miller
Behind the Camera
Behind the Camera on DOCTOR ZHIVAGO
To cast the film, Lean turned to many of his old favorites, including
Alec Guinness, who had appeared in
Great Expectations (1946) and
Lawrence of Arabia, and Ralph Richardson (Alexander Gromeko), who
had appeared in
Breaking the Sound Barrier (1952).
MGM executives wanted established stars in the leads, originally
suggesting Paul Newman as Zhivago and Sophia Loren (Ponti's wife) as
Lara.
Lean's first choice for the title role was Peter O'Toole, who had risen
to stardom with his performance in
Lawrence of Arabia. Having
suffered through two years of shooting in the desert, however, O'Toole was
loath to commit to a similarly grueling film shoot in what promised to be
dauntingly cold climates, so he turned the film down. That triggered a
rift between director and star that would last until 1988, a few years
before Lean's death.
With O'Toole unwilling to make the film, Lean turned to the other actor
who had risen to stardom in
Lawrence, Egyptian actor Omar Sharif.
The casting was a surprise to everybody, including Sharif. He had asked
his agent to propose him for the role of Pasha, the student revolutionary
who becomes Zhivago's nemesis. Tom Courtenay would win an Oscar&
nomination for his performance in the role.
After considering several other actresses for the lead, Lean chose
British newcomer Julie Christie, over the studio's objections. He based
his choice on a few clips from
Darling (1965), which was currently
in production and would go on to win her international acclaim and an
Oscar® a small role in
Young Cassidy (also 1965); and one scene
in
Billy Liar (1963), in which she played opposite Courtenay.
Lean also had to fight to cast Geraldine Chaplin, daughter of the
legendary Charlie Chaplin, as Zhivago's wife, Tonya. With the exception of
an uncredited bit in her father's
Limelight (1952), it was her first
appearance in an English-language film. She had only made two other films,
both in France.
Initially Ponti wanted to shoot the film in the Soviet Union. He
abandoned that idea out of fear that the Soviet authorities would try to
control the film. Lean then considered Yugoslavia and the Scandinavian
countries, but after visiting them with designer John Box and continuity
girl Barbara Cole decided they would be too cold. He also feared the
corrupt Yugoslav bureaucracy would make shooting there too
expensive.
When projected costs of shooting in Hollywood proved too high, Lean and
Ponti moved the production to Spain, which had recently emerged as a viable
production location, particularly since the Spanish Army was available for extra work in military scenes at little cost. In fact, the inhabitants of many Spanish towns and villages were often employed as extras. Other
blockbusters shot in the region included
El Cid and
King of Kings
(both 1961), not to mention portions of
Lawrence of
Arabia
BEHIND THE SCENES - DOCTOR ZHIVAGO (1965)
It took two years to film
Doctor Zhivago. Over 800 craftsmen in
three countries worked on the film. The final production budget was $14
million, twice what the film's backers had agreed to.
The film's principal location in Spain was the C.E.A. Studios, near Madrid's international airport. Production designer John Box and his crew spent six months turning the ten-acre studio into a reproduction of Moscow between 1905 and 1920. Included in the set were a half-mile long paved street, trolley lines, an authentic replica of the Kremlin, a viaduct with real train engines, a church and more than 50 businesses. Publicists touted the set as the largest ever built for a film.
For Zhivago's trip through the Russian Steppes, Box constructed sets in
the mountains north of Madrid. This required diverting the course of a
river to fit Lean's vision and building miles of fresh railroad
tracks.
Lean originally wanted to shoot each of the film's scenes in the
appropriate season, so he scheduled a ten-month shoot. Unfortunately, he
arrived in Spain during one of the country's mildest winters ever. After
repeated delays that added $2.5 million to the budget as he waited for
snow, he finally had to shoot during the warmer months.
Many winter scenes were shot in the summer, when actors had to
withstand temperatures climbing to 116 degrees while muffled in Russian
furs. Costume designer Phyllis Dalton had to keep strict watch over the
extras to make sure none of them were shedding layers of clothing to cool
off. Sharif would later note, "We had an army of make-up assistants
who every two minutes came and dabbed you because we were sweating
profusely."
For scenes near Zhivago's country estate in the spring, the crew had
planted 7,000 daffodil bulbs, but with the mild winter, they started
blooming in January. They had to dig up the bulbs, put them into cold
storage and replant them later.
Not only did the mild winter mean no snow; the fields started turning
green too early. The crew used white paint, plaster dust and even white
plastic sheets to create many of the film's snow-filled
vistas.
For the scenes in which Zhivago and his family suffer through a
tortuous train ride to their summer home in the Urals, the company shot in
Finland and Canada with the full cooperation of Finnish State Railways and
the Canadian Pacific Railway Company.
Although David Lean had championed Julie Christie to studio executives,
during early days of filming he had a hard time getting what he wanted out
of her. Rather than give her time to explore the role, he kept at her to
get exactly what he wanted. When they returned to the hot Spanish
locations after time in icebound Finland, she finally collapsed under the
pressure. Gradually, however, they developed a working rapport. Lean took
to visiting her in her apartment in Madrid and was quick to accept her
suggestions for the script. By the time production had finished, they had
forged a lasting friendship, though they would never work together again.
At the climax of Lara's sleigh ride with Komarovski, played by Rod
Steiger, she had to slap him when he tried to kiss her. She kept
anticipating the kiss, so, with Lean's approval, Steiger made it a little
more physical when they did the scene. Then, when she slapped him, he
impulsively slapped her back with his glove. Lean kept it in the film
because Christie's startled response was so honest and dramatically
powerful.
The film got an added publicity boost during post-production when
Darling (1965), a searing look at the rise of a young model in
swinging London, opened and made Christie an international
star.
Doctor Zhivago premiered in New York City on December 22, 1965,
in time to qualify for the 1965 film awards.
When the film received only mixed reviews, MGM President Robert O'Brien
committed another $1 million to advertising. Publicity trumpeted the
picture as a cross between
War and Peace (1956) and
Gone With the
Wind (1939). They even suggested that exhibitors play only music from the
film before and after screenings and not sell concessions while the picture
was running, though it's doubtful that any theatre managers gave up the
chance for lucrative profits in that area. Helped by strong word-of-mouth,
the film took off at the box office, becoming MGM's second-highest grosser
to date, behind
Gone With the Wind but ahead of the 1959 version of
Ben-Hur.
Doctor Zhivago finally returned to his homeland in 1988, when
Mikhail Gorbachev allowed it to be published there as part of his
"glasnost" policy. In 1994, the Soviet Union finally agreed to allow the
film to be shown there. It premiered to record attendance and glowing
reviews
For the film's 30th anniversary in 1995, the Turner Entertainment
Company (TEC) created a new print to be used for a theatrical reissue and
new home videos. Over the years, the heavy demand for prints around the
world had left the original negative worn and scratched, forcing MGM to use
duplicate negatives for some sequences. Fortunately, the original negative
had not suffered from color degeneration, so technicians simply had to
create new printing masters that eliminated the scratches They also
returned to the original sound elements to create a new soundtrack that was
then recorded in DTS Digital Stereo. When the new version premiered at the
Academy of Motion Picture Arts & Sciences® some viewers thought the
film looked even better than it had at its premiere.
by Frank Miller
The Critics Corner
The Critics' Corner on DOCTOR ZHIVAGO
"At once generous yet austere, huge but never out of human scale, gently
unfolded yet full of power, it is a work of serious genuine art." --
Richard Schickel,
Life.
"The sweep and scope of the Russian Revolution, as reflected in the
personalities of those who either adapted or were crushed, has been
captured by David Lean in
Dr. Zhivago, frequently with soaring
dramatic intensity. Director has accomplished one of the most meticulously
designed and executed films -- superior in several visual respects to his
Lawrence of Arabia" -- Murf,
Variety.
"Mr. Bolt has reduced the vast upheaval of the Russian Revolution to the
banalities of a doomed romance." -- Bosley Crowther,
The New York
Times.
"See it, feel it, treasure it. Don't play games with it. And don't make
comparisons. No, I take that back. Make some comparisons with some of the
other highly touted films currently going the rounds. Then go bask in its
wonder." -- John Cutts,
"It is all too bad to be true: that so much has come to so little, that tears must be prompted by dashed hopes instead of enduring drama." -
Newsweek.
"A majestic, magnificent picture of war and peace, on a national scale and scaled down to the personal. It has every element that makes a smash, long-run box office hit." -
The Hollywood Reporter.
"Though it doesn't equal
Lawrence of Arabia, David Lean's epic wartime romance may be his most accessible film. It tells a simple love story in a complex setting and, for the most part, avoids easy resolutions to messy emotional relationships....
Dr. Zhivago remains one of the most ambitious and watchable of the "big" '60s films, and one of the best depictions of a civil war's terrible human costs." - Mike Mayo,
War Movies.
"
Zhivago is a syrupy romance, without poetry or plausibility." - David Thomson,
The New Biographical Dictionary of Film.
"..for the long list of stars, for David Lean, and for admirers of Pasternak's novel,
Dr. Zhivago is no more than a competent blockbuster." - Peter Cowie,
Eighty Years of Cinema.
"..in this movie, so full of "realism," nothing really grows - not the performances, not the ideas, not even the daffodils, which are also so "real" they have obviously been planted for us, just as the buildings have been built for us. After the first half hour you don't expect the picture to breathe and live; you just sit there. It isn't shoddy (except for the balalaika music, which is so repetitive you could kill the composer); it's stately, respectable, and dead." - Pauline Kael,
5001 Nights at the Movies.
"
Doctor Zhivago (M-G-M) is a mixture of Lean's two well-tried methods of dealing with the classics: ornate Dickensian for scenes like the burial of Yuri's mother, or Yuri's own poetic inspiration by ice and candlelight; epic spectacular for ravages and battles and, of course, the long train journey from Moscow to the Urals...The actors look good, but with the exception of Rod Steiger, who as Komarovsky has the most clearly defined role anyway, their performances lack momentum....One is always conscious that nobody is Russian, and that nobody quite lives up to one's preconceived idea of the character that he or she portrays." - Elizabeth Sussex,
Sight and Sound.
Awards & Honors
Doctor Zhivago was the number two film at the box office in its year
(
The Sound of Music was number one) with over $60 million in rentals
in the U.S. alone. Its current international gross is over $111
million.
In most of the year's acting awards, Julie Christie's performance in
Doctor Zhivago was beaten out by her performance in
Darling.
The National Board of Review named her Best Actress for both
films.
Doctor Zhivago won Golden Globes® for Best Motion
Picture-Drama, Best Actor-Drama (Omar Sharif), Best Director (David Lean),
Best Screenplay (Robert Bolt) and Best Score (Maurice Jarre).
Doctor Zhivago was nominated for ten Academy Awards®,
including Best Picture, Best Director and Best Supporting Actor (Tom
Courtenay). It won for Best Adapted Screenplay, Best Cinematography
(Freddie Young), Best Art Direction (John Box), Best Costumes (Phyllis
Dalton) and Best Score (Maurice Jarre).
The film's best-selling soundtrack album won the Grammy® for Best
Original Score Written for a Motion Picture or Television
Show.
In 1988, "Lara's Theme" won a special People's Choice Award as Favorite
All-Time Motion Picture Song.
Compiled by Frank Miller & Jeff Stafford
Doctor Zhivago
Promising young surgeon Yuri Zhivago is happily married to a wife from a good family when a world war, the Russian
Revolution and his growing passion for the beautiful Lara disrupt their
lives. Though Lara inspires his greatest poetry, they are kept apart
by the forces of history until Zhivago defies the Soviet government to flee
with his love to the snowbound countryside of his youth. There, they
snatch a few moments of happiness until she vanishes with their infant
daughter, leaving Zhivago to spend the rest of his life searching for her.
Years later, his half-brother, Yevgraf, tracks down a young factory worker
who knows little of her past except for her passion for music and poetry which
she inherited from her father, Yuri.
Doctor Zhivago (1965) was the first major western film to capture the
turmoil of the Russian Revolution, leading the way for such later epics as
Nicholas and Alexandra (1971) and
Reds (1981).
Winning out over several other producers, Carlo Ponti bought the film
rights to Boris Pasternak's Nobel Prize-winning novel
Doctor Zhivago from its Italian publisher in
1963. At the time, David Lean was the only director who seemed capable of
pulling off such a large-scale production. On the strength of his
international success with
Lawrence of Arabia (1962), Ponti hired him and
gave him complete artistic control.
Lean's first choice for the title role was Peter O'Toole, who had risen
to stardom with his performance in
Lawrence of Arabia. Having
suffered through two years of shooting in the desert, however, O'Toole was
loath to commit to a similarly grueling film shoot in what promised to be
dauntingly cold climates, so he turned the film down.
Then, Lean turned to the other actor
who had risen to stardom in
Lawrence, Egyptian actor Omar Sharif.
The casting was a surprise to everybody, including Sharif. He had asked
his agent to propose him for the role of Pasha, the student revolutionary
who becomes Zhivago's nemesis. Tom Courtenay would win an Oscar&
nomination for his performance in that role.
After considering several other actresses for the lead, Lean chose
British newcomer Julie Christie, over the studio's objections. He based
his choice on one scene
in
Billy Liar (1963), in which she played opposite Courtenay and a few clips from
Darling (1965), which was currently
in production and would go on to win her international acclaim and an
Oscar®.
Lean also had to fight to cast Geraldine Chaplin, daughter of the
legendary Charlie Chaplin, as Zhivago's wife, Tonya. With the exception of
an uncredited bit in her father's
Limelight (1952), it was her first
appearance in an English-language film.
It took two years to film
Doctor Zhivago. Over 800 craftsmen in
three countries worked on the film. The final production budget was $14
million, twice what the film's backers had agreed to.
The film's principal location in Spain was the C.E.A. Studios, near Madrid's international airport. Production designer John Box and his crew spent six months turning the ten-acre studio into a reproduction of Moscow between 1905 and 1920. Included in the set were a half-mile long paved street, trolley lines, an authentic replica of the Kremlin, a viaduct with real train engines, a church and more than 50 businesses. Publicists touted the set as the largest ever built for a film.
For Zhivago's trip through the Russian Steppes, Box constructed sets in
the mountains north of Madrid. This required diverting the course of a
river to fit Lean's vision and building miles of fresh railroad
tracks.
Lean originally wanted to shoot each of the film's scenes in the
appropriate season, so he scheduled a ten-month shoot. Unfortunately, he
arrived in Spain during one of the country's mildest winters ever. After
repeated delays that added $2.5 million to the budget as he waited for
snow, he finally had to shoot during the warmer months.
Many winter scenes were shot in the summer, when actors had to
withstand temperatures climbing to 116 degrees while muffled in Russian
furs. Costume designer Phyllis Dalton had to keep strict watch over the
extras to make sure none of them were shedding layers of clothing to cool
off. Sharif would later note, "We had an army of make-up assistants
who every two minutes came and dabbed you because we were sweating
profusely."
Doctor Zhivago was the second of three films teaming David Lean
with playwright Robert Bolt. Bolt had previously saved the
Lawrence of
Arabia (1962) script. Their third collaboration would be
Ryan's
Daughter (1970), starring Bolt's wife, Sarah Miles.
Along with the reissue of
Gone With the Wind (1939),
Doctor
Zhivago saved MGM from bankruptcy in the mid-'60s. It also marked a new path for the historical epic.
Previous films had simply focused on the scope of world-shaping events.
With
Zhivago director David Lean and scriptwriter Robert Bolt
brought a new romantic sensibility to the epic. That Victorian ideal would
inform such later blockbusters as
Mary, Queen of Scots (1971),
Lady Gray(1986) and
Titanic (1997).
Doctor Zhivago was nominated for ten Academy Awards®,
including Best Picture, Best Director and Best Supporting Actor (Tom
Courtenay). It won for Best Adapted Screenplay, Best Cinematography
(Freddie Young), Best Art Direction (John Box), Best Costumes (Phyllis
Dalton) and Best Score (Maurice Jarre).
Producer: Carlo Ponti, David Lean, Arvid Griffen
Director: David Lean
Screenplay: Robert Bolt, Boris Pasternak (novel)
Cinematography: Freddie Young
Film Editing: Norman Savage
Art Direction: Terence Marsh, Gil Parrondo
Music: Maurice Jarre
Cast: Omar Sharif (Yuri Zhivago), Julie Christie (Lara), Tom Courtenay (Pasha Strelnikov), Geraldine Chaplin (Tonya), Rod Steiger (Komarovsky), Alec Guinness (Yevgraf).
C-200m. Letterboxed. Closed captioning. Descriptive Video.
by Frank Miller
TCM Remembers - Rod Steiger
ROD STEIGER, 1925 - 2002
From the docks of New York to the rural back roads of Mississippi to the war torn Russian steppes, Rod Steiger reveled in creating some of the most overpowering and difficult men on the screen. He could be a total scoundrel, embodying Machiavelli's idiom that "it's better to be feared than loved" in the movies. But as an actor he refused to be typecast and his wide range included characters who were secretly tormented (The Pawnbroker, 1965) or loners (Run of the Arrow, 1965) or eccentrics (The Loved One, 1965).
Along with Marlon Brando, Steiger helped bring the 'Method School' from the Group Theater and Actors Studio in New York to the screens of Hollywood. The Method technique, taught by Stella Adler and Lee Strasberg, insisted on complete immersion into the character's psyche and resulted in intense, dramatic performances and performers. Steiger made his first significant screen appearance as Brando's older brother in On the Waterfront (1954). Their climatic scene together in a taxicab is one of the great moments in American cinema.
It was a short leap from playing a crooked lawyer in On the Waterfront to playing the shady boxing promoter in The Harder They Fall (1956). Based on the tragic tale of true-life fighter Primo Carnera, The Harder They Fall details the corruption behind the scenes of professional boxing bouts. Steiger is a fight manager named Nick Benko who enlists newspaperman Eddie Willis (Humphrey Bogart in his final screen appearance) to drum up publicity for a fixed prizefight. While the boxing scenes were often brutally realistic, the most powerful dramatic moments took place between Steiger and Bogart on the sidelines.
As mob boss Al Capone (1959), Steiger got to play another man you loved to hate. He vividly depicted the criminal from his swaggering early days to his pathetic demise from syphilis. In Doctor Zhivago (1965), Steiger was the only American in the international cast, playing the hateful and perverse Komarovsky. During the production of Dr. Zhivago, Steiger often found himself at odds with director David Lean. Schooled in the British tradition, Lean valued the integrity of the script and demanded that actors remain faithful to the script. Steiger, on the other hand, relied on improvisation and spontaneity. When kissing the lovely Lara (played by Julie Christie), Steiger jammed his tongue into Christie's mouth to produce the desired reaction - disgust. It worked! While it might not have been Lean's approach, it brought a grittier edge to the prestige production and made Komarovsky is a detestable but truly memorable figure.
Steiger dared audiences to dislike him. As the smalltown southern Sheriff Gillespie in In The Heat of the Night (1967), Steiger embodied all the prejudices and suspicions of a racist. When a black northern lawyer, played by Sidney Poitier, arrives on the crime scene, Gillespie is forced to recognize his fellow man as an equal despite skin color. Here, Steiger's character started as a bigot and developed into a better man. He finally claimed a Best Actor Academy Award for his performance as Sheriff Gillespie.
Steiger was an actor's actor. A chameleon who didn't think twice about diving into challenging roles that others would shy away from. In the Private Screenings interview he did with host Robert Osborne he admitted that Paul Muni was one of his idols because of his total immersion into his roles. Steiger said, "I believe actors are supposed to create different human beings." And Steiger showed us a rich and diverse cross section of them.
by Jeremy Geltzer & Jeff Stafford