“ Tsar ” is a historical film by Pavel Lungin , which tells about two years from the life of Tsar Ivan the Terrible , his relationship with Metropolitan of Moscow Philip and the events of the oprichnina era. The Russian premiere of the film took place on November 4, 2009.
| King | |
|---|---|
 | |
| Genre | drama biography historical |
| Producer | Pavel Lungin |
| Producer | Pavel Lungin Vasily Bernhardt Olga Vasilieva |
| Author script | Aleksey Ivanov Pavel Lungin |
| In the main cast | Peter Mamonov Oleg Yankovsky Ivan Okhlobystin Alexander Domogarov |
| Operator | Tom Stern |
| Composer | Yuri Krasavin |
| Film company | Studio Pavel Lungin |
| Duration | |
| Budget | 15 million $ |
| A country | |
| Tongue | Russian |
| Year | 2009 |
| IMDb | |
This is the third joint work of Pavel Lungin and Peter Mamonov . The role of the Metropolitan was the last movie role for Oleg Yankovsky , who died in May 2009.
Story
The film takes place in 1566-1569, at the height of the Oprichnina and the Livonian War . The film starts from the moment when the Russian Orthodox Church after the departure of Athanasius is left without a metropolitan , and Ivan IV calls for a childhood friend, hegumen of the Solovetsky monastery Philip Kolychev (in the film this name is pronounced Kolychev). The film is divided into four parts.
1. The prayer of the king . The king prays in his cell and asks the Lord to help him in his affairs. In the meantime, Abbot Philip was traveling to Moscow, and on the way rescued the girl Masha, who had run away from the guardsmen (who had tortured her father). Having met the abbot who arrived, the tsar offers him to become the Metropolitan of Moscow , but he refuses at first. The abbot meets his nephew Kolychev in the city, who is leaving for war and advises the abbot to run away from the tsar, since he will not be able to survive next to him. The tsar again comes to Philip, gives Masha the icon of the Virgin and still persuades Philip to become Metropolitan. Philip, seeing the horrors created by the oprichniks, tries to convince the king not to be so cruel and show mercy to the enemies.
2. The war of the king . The abbot’s nephew participates in a bloody battle with the Poles and Litvinians near Polotsk . Masha, who escaped with the icon from the king, appears there. Thanks to the icon, the bridge with the Lithuanian cavalry collapses. The governors are returning from Polotsk to Moscow, however, it becomes known that the Polish-Lithuanian troops bypassed the city from the rear and Polotsk himself opened the gates to them. The king is angry, he wants to execute all the governor. Philip harbors them, which further incurs the king’s wrath. The governor is being arrested. Malyuta Skuratov puts stigmas on their chest. The king orders Philip himself to execute a court in which all governors admit to treason. Realizing that they are telling a lie, Philip refuses to sign the death sentence. Meanwhile, the king is preparing an execution for the governor: he releases them one by one into the arena with a bear. Killing two governor, the bear attacks the third, Kolychev. At this moment, Masha runs into the arena with an icon in her hands and tries to stop the bear. He leaves Kolychev and punch kills Masha. Metropolitan Philip is horrified by the senseless cruelty of the king. Realizing the futility of his attempts to convince him to abandon his savagery, he descends into the arena, raises the icon and leaves with it.
3. The wrath of the king . While serving in the cathedral, Philip does not give a blessing to the tsar; he furiously deprives the Metropolitan of dignity and forces him to observe the execution of his nephew on the rack . The king decides to have mercy on Philip himself, but forever exiles him to the monastery, where he is kept as an ordinary prisoner, in shackles, devoid of even water.
4. Fun of the king . Heinrich von Staden is building a “torture camp”, where it is planned to convene people for festivities and to see the torture of convicts. During the inspection of the town, the royal jester Vassian quotes the Apocalypse , comparing Maria Temryukovna with the Babylonian harlot , for which the king burns him alive at the stake. Meanwhile, in the monastery, the shackles fell off from Philip, and he himself receives the gift of healing and foresight. He warns Archbishop Pimen that “from this day on the third Satanail will appear and depart. They will lay the sin of my death on the brothers, ”that is, they will be accused of his death. Philip encourages them to flee and save themselves. However, the abbot and almost all the monks remain with him. The king arrives, but Philip again accuses him of terrifying cruelty and refuses to bless; by order of the king of Skuratov, he kills Philip with his own hands (strangles). Despite Skuratov’s order to bring him a corpse, the monks buried Philip in a wooden church and locked themselves in it; the guardsmen burn the church with the people there.
At the end of the film, the king comes to the “torture town” and waits all night for the start of the “fun”. Despite the order to appear, no one comes. “Where is my people?” The king asks. Then he prays, then asks again: “Where is my people? ..”
Cast
| Actor | Role |
|---|---|
| Peter Mamonov | Ivan the Terrible |
| Oleg Yankovsky | Metropolitan Philip (Kolychev) |
| Ramil Iskander | Tsarina Maria Temryukovna |
| Alexander Domogarov | Alexey Basmanov , Oprichnik |
| Nastya Dontsova | Masha |
| Alexander Ilyin | Fedor Basmanov , Oprichnik |
| Ville Haapasalo | Heinrich Staden |
| Alexey Frandetti | Kai bulat |
| Ivan Okhlobystin | royal jester vassian |
| Yuri Kuznetsov | Malyuta Skuratov , the oprichnik |
| Alexey Makarov | governor Ivan Kolychev |
| Alexander Negodaylov | Ivan the Terrible in childhood |
| Anvar Halilulaev | Metropolitan Philip in childhood |
| Andrey Nevraev | hegumen |
| Andrey Bronnikov | monk Ilidor |
| Maxim Denesh | Sheepskin |
| Alexey Ilyin | governor Saltykov |
| Alexander Lobanov | Mitka Plescheev |
| Alexander Makarov | Governor Buturlin |
| Igor Marychev | Prince Kurbatov |
| Timothy Savin | Vasily the Dirty |
| Oleg Sokolov | Seraphim (one-eyed) |
| Yuri Sokolov | governor Shuysky |
| Victor Strelchenko | Sheepskin |
| Eduard Fedashko | Governor Golovin |
| Anna Kashnikova | boyar daughter |
| Oleg Surnov | beggar |
| brown bear Stepan | black bear |
Creation History
Pavel Lungin announced his intention to make a film about Ivan the Terrible with Peter Mamonov back in January 2007, indicating that in Mamonov he saw “the grain that could become the key to this image” [1] :
| “On the set of Ostrov , I suddenly saw features of Ivan the Terrible in Peter. Now we need to prepare a script. Ivan the Terrible was a very controversial person. He executed by day, and at night stood and prayed. In any case, this will not be an entertaining story. ” |
The actor for the role of Metropolitan was not immediately approved. According to Ivan Okhlobystin , it was he who recommended Oleg Yankovsky to Lungin as a candidate for this role. [2] Preparing for the role, Yankovsky met with Patriarch Alexy II and received a blessing from him for the shooting [3] . Okhlobystin himself, being a priest, played the role of the jester Vassian in the film.
Filming of the film (working title “Ivan the Terrible and Metropolitan Philip”) began on February 23, 2008. They took place in Suzdal , where before that on the territory of the Spaso-Euthymius Monastery , the scenery of old Moscow of the 16th century , the Oprichny Palace, and the Torture Town were built. [4] The filming days began with prayers to St. Philip . [5] Writer and theologian Alexander Dvorkin , who defended the dissertation “Ivan the Terrible as a Religious Type” at the time, acted as a consultant to the director; he also played an episodic role of Archbishop Pimen [5] . One of the consultants was also Hieromonk Kosma, a resident of the Donskoy Monastery (he also worked with Lungin on the film “ Island ”), who attracted his musician friends - the leader of the rock band “ Kinking Strings ” Vladimir Tereshchenko , producer Oleg Kovrigu and the author Psyoy Korolenko . They all starred in episodic roles of priests in the mass scene of the intronization of Metropolitan Philip. [6]
In early July 2008, Oleg Yankovsky , one of the main roles, was hospitalized [7] .
On May 17, 2009, the film was shown at the Cannes Film Festival as part of the Special Look program [8] . He was not awarded prizes at the festival, although he earned inspiring critical reviews (in particular, the influential Hollywood Reporter magazine indicated that “The King” is a “wonderful” film) [9] .
On June 19, 2009 the film was opened by the 31st Moscow International Film Festival , the jury of which was headed by Pavel Lungin. [ten]
On October 10, 2009, the film was shown at the Warsaw Film Festival . [eleven]
At the end of October, the novel of the scriptwriter of the film Aleksey Ivanov, " The Chronology of John, " written according to the original version of the script [12] and having some differences from the film [13] , was published.
Camera crew
- Stage Director: Pavel Lungin
- Script writers - Alexey Ivanov , Pavel Lungin
- Director of Photography - Tom Stern
- General Producer - Pavel Lungin
- Producers - Vasily Bernhardt, Olga Vasilyeva
- Set Designer: Sergey Ivanov
- Costume Designers - Natalya Dzyubenko , Ekaterina Dyminskaya
- Make-up artists - Valeria Nikulin , Irina Ulyanova
- Stunt Director - Alexey Silkin
- Installation Director - Albina Antipenko
- Director - Vadim Koruzlov
- Composer - Yuri Krasavin
- Sound Engineer - Stefan Albine
Movie Perception
Public Response
On October 13, 2009, a film was screened in the Small Hall of the State Duma of the Russian Federation , which was attended by political and public figures and journalists. In the discussion after the film, both positive and negative reviews were heard, with Leonid Simonovich-Niksic making the sharpest assessment, who called the film “a terrible parody of Russia” and “blasphemous ugliness” [14] . Previously, the filmmaker Nikolai Burlyaev made a statement about the anti-historical interpretation and the denigrating of the image of the king in the film. It is worth noting that Burlyaev himself said: “I sat for only half an hour at the screening” [15] [16] .
Shortly before the official premiere, on November 2, 2009, the Union of Orthodox Banner Bearers and the Union of Orthodox Brotherhoods held a picket in Moscow in defense of Russian history and culture, at which they expressed their categorical protest against the film, which is a "mocking caricature of the first Russian Tsar", which in the film “presented in the form of an extravagant maniac, sadist and paranoid,” and the film itself is designed to “symbolically spit on Russian history” [17] .
The reaction of historians and clergy
The opinions of historians regarding the historical authenticity of the film were divided. Many reproached the director for distorting the image of Ivan the Terrible and his era. So, the historian, doctor of historical sciences, professor of the Department of Russian History until the 20th century negatively assessed the historical component of the film. The Faculty of History of St. Petersburg State University Igor Yakovlevich Froyanov , who reproached the director for the one-sidedness and anti-Russian orientation of the picture. [18] Doctor of Historical Sciences Mikhail Babkin , the author of a number of works on the history of the Russian Church , after the pre-premiere screening of the film on November 3, 2009, pointed out a number of historical and factual errors in the work of the film’s consultants, as well as the obviously clerical (church) tendentiousness of the plot of the picture [ 19] .
On the other hand, TV presenter Nikolai Svanidze expressed the opinion that “if you do not take some details that are natural in the work of art - it’s not a historical chronicle - then ... Lungin is very historically accurate with regard to the image of the era of Ivan the Terrible , and as regards events related to the relationship of the king and Metropolitan Philip, and as regards the image of the personality of the king himself ” [20] . A professor at the Russian State Humanitarian University, Dmitry Antonov, a specialist in the era of Ivan the Terrible, also noted that the director of the film “didn’t sin against the truth” and the only criticism is the final remark of Grozny: “Where is my people?”: “Grozny allegedly felt extremely lonely after the death of Philip and realizing the scale of the trouble that he created. So, there was none of this. Grozny had different periods of rule, including moments of relief. But after the abolition of the oprichnina, he in no way repented. After a very short time, the atrocities in the country resumed with renewed vigor and did not stop until the tyrant’s death ” [21] .
Professor of the Moscow Theological Academy, Protodeacon Andrei Kuraev , known for his missionary work, noting the “historiosophical and Christian” consistency of the film, said, in particular: “Is it accidental or not that the release of this film came in the first year of the new patriarchate? Would Patriarch Kirill also have to become the heir not only to the throne of St. Philip, but also his cross? Is this film a kind of spiritual testament from st. Philip to Patriarch Cyril ? ” [22]
The rector of the Kostroma Theological Seminary, Archimandrite Gennady (Gogolev) wrote on the seminary’s website: “The main point of the painting is that it deals a mortal blow to the monarchist idea itself, which is just now beginning to win more and more supporters in Russia.” [23]
After the release of the film, many, including Orthodox clergymen, spoke negatively about the resumption of the acting activities of Father John Okhlobystin [24] . Okhlobystin himself pointed out that “the essence of the main claim is that by playing the role of a possessed royal jester, I seduce people and humiliate the holy dignity. The first reaction was to dismiss and recall that the late Patriarch Alexy blessed the production of the director’s film, and my task was only to accurately complete the task. But, on reflection, I realized that there was a certain reason for the criticism I read ” [25] . As a result, at the end of November 2009, Okhlobystin turned to Patriarch Kirill with a request to remove him from service [26] .
Priest Daniil Sysoev :
I watched the movie "Tsar" last Sunday. The impression is twofold. On the one hand, in comparison with Ostrov, the film is weaker. There is no miracle of repentance (as it was not in real Ivan the Terrible). But, on the other hand, there is an important thought now. Power is not more important than God's truth. Metropolitan Philip turned out to be beautiful. Yes, it’s impossible to convey the true depth of life in God through the movies, but what was possible, Lungin did. This was not a confrontation between embittered opponents. Philip turned out to be who he was. After all, he really cared about the dying soul of Grozny. His soul was important to him, and not the greatness of Russia, which did not pass into eternity. The small amount of blood surprised me. What Grozny was generous with was torture. But Lungin resisted the rivers of blood. What has been shown is enough.
And the reaction of the patriots is not surprising. If a person does not give a damn about God, then Ivan the Terrible will be valuable to him, and not Metr. Philip. It is no coincidence that almost all patriots scream with indignation: “how can I blame Ivan when he killed only 4,000 people, when in the west they killed 72,000?” I recall that in the eyes of my Lord the death of one innocent is worth destroying the state. In reality, Grozny killed far more. I'm not talking about the fact that after the Terrible tyrant Russia became depopulated and Smoot came - a logical result of the lawlessness of those who dared to obey the unholy tyrant. In Byzantium there were Terrible - for example, Fock or Justinian II , but they were quickly put in place. Christians in Byzantium did not adhere to the superstition of "the inviolable person of the sovereign." They rather followed the thought of St. Joseph Volotsky, "a king who does not follow the law of God, is not a king, but a devil." Not overcome paganism (nationalism) in Russia and superstition, as if the best ruler is the son of the previous one, served Russia poorly. As the Romans were right, they believed that power should belong to the best, and not be inherited. By the way, Grozny was not anointed. He was not anointed, and therefore his power is no higher than the power of B. Yeltsin . Rather, the anointed was Metr. Philip (I remind you that in Scripture not only kings are called anointed, but also prophets and priests).
Well, the end, I think, failed. "The people are silent" is not the best ending. It would be better to show the current residence of the formidable king. And according to the testimony of monk Leonty (16th century), he now lives with Judas Iscariot. To complete the film with a picture from Dante’s hell was the best answer to the conflict of power and the Church. “The New Pharaoh and Herod” (according to the testimony of the liturgical tradition of the Church) did not deserve the best. [27]
Historian Reviews
- Dmitry Volodikhin ( Russian magazine ) [28] :
| In connection with the release of the film “Tsar” posed by Lungin, the controversy surrounding Ivan the Terrible has escalated to the limit. The film is complex, having a well-thought-out Christian background, interpreting the oprichnina as a recurrence of a pagan world outlook in the bowels of Russian statehood ... Meanwhile, Lungin’s film is good because the sovereign Ivan IV is presented in it in colors, and not in the usual b / w style. The monarch is shown by a more complex personality than his myths interpret. Ivan IV is more complicated than we would like to see both the supporters of the version of “a visionary politician, a genius commander” and the adherent of the concept of a “bloody maniac”. The semantic core of the film consists in the fact that the Russian Orthodox sovereign, and in fact a sincere and deeply religious person, directs his faith to what Christianity cannot be seen in. The external form of the Christian king is respected, but in fact the king worships a huge unmerciful power, and he himself tries to be as powerful for his subjects as enormous as merciless. And this motive seems to be much closer to historical truth than a black and white mythological palette. It is true that Ivan IV possesses undoubted merits before Russian history. But it is also true that on his conscience there were mass repressions and several terrible military-political failures. |
- Lev Usyskin ( Polit.ru ) [29] :
| As for historical authenticity, there is simply nothing to talk about. What is happening on the screen correlates with the history of the reign of Ivan IV in much the same way as the story of Malchish-Kibalchish - with the history of the Civil War in Russia. Nothing is reliable here - neither eventually, nor figuratively, in other words, picturesquely. Say, no such difficult situation on the Polish front in 1565-1566 . there wasn’t - at that time there were practically no military operations, but various negotiations were held on peace and a truce was concluded. Polotsk was not lost then, but in 1579 , when there was no longer Philip the Metropolitan, nor the Basmanovs, nor Malyuta, nor even King Zhigmont. On the contrary, this same Polotsk was captured by the Russians only in 1563 , after which the situation at the front became really extremely difficult ... for Lithuanians with Poles ... Actually, you can continue for a long time and therefore it is not worth it at all - without the risk of making a mistake, I will say that ALL the events of the film do not correspond to historical reality. As everything else doesn’t correspond to it - prototypes of the film’s heroes don’t go like that, don’t sit, don’t dress, don’t pray, don’t act like that and don’t say so (even taking into account translation into modern language). Suffice it to say that Ivan was in his thirty-fifth year in 1565 — the hero of Mamonov was well over fifty ... As for the plot, there is simply trouble. The terrible king executes and torments innocent victims. Metropolitan Philip stands up for them, for this he is arrested and killed. That, in fact, is all. Any VGIK freshman understands that this is not suitable as a scenario - for it does not carry any drama : plot twists, transitions from hope to despair and vice versa, changes in the worldview or intentions of heroes, points of existential choice, moments of resolving contradictions, etc. . And if the extremely weak scenario of the film “Island” in a normal situation would not have passed the input screen of any professional production company, then the script of the film “Tsar” in a cinematic sense does not seem to exist at all. |
Film Critics Reviews
- Roman Volobuev ( Poster ) [30] :
| Expressiveness is the traditional trump card and the main death of Pavel Lungin, who in the past regularly dragged him to the territory where intelligent people are embarrassed to go to - almost for the first time in the filmography, the director clearly served the director. “Tsar” is undoubtedly the most elegant Lunga movie: ascetic, as if written in cursive (primarily due to the flying camera of American Tom Stern, the operator of all the latest Eastwood films), completely devoid of moth-laden overtones inherent in costume films, built on two-thirds of alternating white and black - then black people in white snow, then white faces in the dark. |
- Андрей Плахов ( Коммерсантъ -Weekend) [31] :
| Лунгин снял по сценарию Алексея Иванова кинодиспут о двоевластии, об отношениях между государством и церковью. Новая киноверсия судьбы, личности и исторической роли Иоанна IV балансирует в жанровом спектре между постановочным эпосом и камерной драмой. От первого разработанные, хотя и грубоватые костюмные массовки и особенно изобретательные сцены казней и пыток. Эффект крепкой режиссуры усиливает интеллигентная и в то же время сочная операторская работа Тома Стерна, снимавшего фильмы Клинта Иствуда… Но в конечном счете эпос сдает свои позиции под натиском камерной драмы. В центре фильма дуэт-поединок царя (Пётр Мамонов) и митрополита (Олег Янковский в своей последней кинороли). Это не только пир актёрского мастерства, но и квинтэссенция темы фильма: духовный человек против бездуховности и бесчеловечности власти. Главный вопрос: царское ли это дело — миловать и прощать или только выжигать все живое калёным железом во славу укрепления государства? Особенно когда вокруг сплошные враги (чего стоит хотя бы коварная Польша ) и страна с трудом поднимается с колен. …Но «Царь» — не столько исторический фильм, сколько все же драма греха и духовного подвига. В «Острове» Павел Лунгин свёл их в одном персонаже, в «Царе» — развёл на двоих. |
- Стас Тыркин ( Комсомольская правда ) [2] :
| Сюжет многих фильмов Павла Лунгина составляет моральное противоборство полярно заряженных героев-мужчин: таксиста и саксофониста в « Такси-блюзе », отца и сына в « Луна-парке » и т. д. То же и в «Царе»: облезлому и бесноватому, с одним гнилым зубом во рту русскому царю Ивану Васильевичу (Петр Мамонов) противостоит благообразный и рассудительный митрополит Филипп Колычев (Олег Янковский), само воплощение христианской добродетели... Конфликт героев в «Царе» решен, увы, очень декларативно. Персонажи и их отношения лишены какого бы то ни было развития: Иван весь фильм желает казнить, Филипп призывает миловать... Настоящего противоборства исторических персонажей не получается еще и из-за разницы в актерских потенциалах исполнителей. Удачно совпавший со своими героями в «Острове» и «Такси-блюзе» непрофессиональный актер Мамонов откровенно не справляется с масштабной ролью Антихриста всея Руси, возложенной на него Лунгиным. Получается скорее не очень страшный юродивый, на худой конец пакостный мелкий бес. |
Rolling Fate
Официальная премьера фильма состоялась 3 ноября 2009 года в московском кинотеатре «Октябрь» [32] .
4 ноября 2009 года в День народного единства фильм вышел в широкий прокат в России. С 4 по 16 ноября картину в кинотеатрах посмотрели около 1 миллиона россиян, общие сборы за этот период составили 5 миллионов долларов. [33]
18 ноября 2009 года вышел DVD.
7 января 2010 года состоялся показ фильма по Первому каналу .
Awards and nominations
- 2009 — Фестиваль русского кино в Доме Москвы в Риге — «Лучший режиссёр» ( Павел Лунгин ) [34]
- 2010 — Премия « Ника » в номинациях «Лучшая работа художника», «Лучшая мужская роль».
Notes
- ↑ Павел Лунгин увидел в Петре Мамонове Ивана Грозного
- ↑ 1 2 Исполнитель роли юродивого Иван Охлобыстин на первом показе фильма «Царь»: «Янковского на роль митрополита Филиппа Лунгину рекомендовал я»
- ↑ «Царь» Павла Лунгина: Перед началом съёмок Янковский получил благословение у Алексия II
- ↑ ИВАН ГРОЗНЫЙ И МИТРОПОЛИТ ФИЛИПП (Студия Павла Лунгина) (недоступная ссылка) . Дата обращения 13 сентября 2008. Архивировано 30 сентября 2008 года.
- ↑ 1 2 Александр Дворкин: «Иван Грозный не был великим правителем»
- ↑ Павел Лунгин: Что не Грозный, то вроде и не власть Архивировано 7 января 2013 года.
- ↑ Олег Янковский госпитализирован с диагнозом — ишемическая болезнь сердца — Российское кино — Правда. RU
- ↑ Студия Павла Лунгина (недоступная ссылка) . Дата обращения 10 ноября 2009. Архивировано 12 декабря 2009 года.
- ↑ Последнюю работу Олега Янковского — в фильме Павла Лунгина «Царь» россияне увидят в ноябре // cultradio.ru (Проверено 20 мая 2009)
- ↑ На Московском кинофестивале вручены первые награды (25.06.2009)
- ↑ Tsar (2009) — Release dates
- ↑ Сайт творчества Алексея Иванова — новости сайта (недоступная ссылка) . Дата обращения 13 ноября 2009. Архивировано 18 августа 2010 года.
- ↑ Алексей Иванов: Голос, оставшийся за кадром
- ↑ ГЛАВА СПХ ВЫСТУПИЛ С РЕЗКОЙ КРИТИКОЙ ФИЛЬМА «ЦАРЬ» ПОСЛЕ ЗАКРЫТОГО ПРЕМЬЕРНОГО ПОКАЗА В ГОСУДАРСТВЕННОЙ ДУМЕ
- ↑ Николай Бурляев: «Трактовка режиссёром образа Царя антиисторична»
- ↑ Николай Бурляев: В фильме Лунгина Иоанн Грозный похож на бомжа и упыря
- ↑ «А „ЦАРЬ“-ТО НЕ НАСТОЯЩИЙ!»: В МОСКВЕ ПРОШЁЛ ПИКЕТ ПРОТИВ НОВОГО ФИЛЬМА ЛУНГИНА
- ↑ Игорь Фроянов: Лунгин оценивает эпоху Иоанна Грозного однобоко и односторонне
- ↑ Михаил Бабкин. «ПО ПЛОДАМ ИХ УЗНАЕТЕ ИХ…». Кто дирижировал фильмом «Царь» и что из этого вышло portal-credo.ru 13 ноября 2009.
- ↑ Телеведущий, член Общественной палаты РФ НИКОЛАЙ СВАНИДЗЕ: «Лунгин очень исторически точен, изображая эпоху Ивана Грозного, взаимоотношения царя и митрополита Филиппа и личность самого царя»
- ↑ Дмитрий Антонов, профессор РГГУ, специалист по эпохе Ивана Грозного: «Это неправда — Грозный не раскаялся!»
- ↑ Протодиакон Андрей Кураев о фильме «Царь»: есть явные параллели с Патриархом Кириллом, а хоругвеносцы ошибаются. portal-credo.ru 10 ноября 2009.
- ↑ Фильм «Царь» наносит смертельный удар по идее монархии в России, считает ректор Костромской семинарии РПЦ МП portal-credo.ru 11 ноября 2009.
- ↑ Известные московские пастыри критически отозвались об актёрской деятельности священника Иоанна Охлобыстина
- ↑ Правильный вопрос — Блог — Иван Охлобыстин — Снобщество
- ↑ Отец Иоанн Охлобыстин отказался от служения
- ↑ О фильме Царь.
- ↑ Похвала сложности
- ↑ Усыскин Л. Царь Иван Грозный, прозванный за свою жестокость Васильевичем // Аналитика Полит.ру . 13 ноября 2009 . — 15.11.2009.
- ↑ Фильм «Царь» — Рецензия (7 из 322) — Афиша
- ↑ Грешная сила. «Царь» Павла Лунгина // Журнал «Weekend» № 42 (138) от 30.10.2009
- ↑ «Царь» — премьера в к/т «Октябрь» | Фильм Павла Лунгина «Царь» (недоступная ссылка) . Дата обращения 12 ноября 2009. Архивировано 14 ноября 2009 года.
- ↑ Петр Мамонов, исполнитель роли Ивана Грозного в фильме «Царь»: «Мы Бога превратили в бюро добрых услуг»
- ↑ Студия Павла Лунгина (недоступная ссылка) . Дата обращения 26 ноября 2009. Архивировано 25 марта 2010 года.
Links
- «Царь» на сайте «Студии Павла Лунгина»