Description
David Lean's wintry adaptation of Boris Pasternak's melodramatic Russian Revolution romance, Doctor Zhivago , is a masterpiece of epic filmmaking, but one that risks leaving the viewer cold. Though none of the film was shot in the then USSR, Lean's assured technique nevertheless illuminates the breathtaking backgrounds magnificently: from the snowy wastes of the Urals to the strife-torn streets of Moscow, Lean stages a series of wonderful set-pieces showing war, revolution and its terrible aftermath. The problem lies in the foreground. Omar Sharif's entirely passive Zhivago is, we are told, a romantic poet of great sensitivity who internalises all his emotions and expresses them in verse. The trouble is the audience never gets to see a line of his poems, not even the centrally important "Lara" cycle. Thus Zhivago at the end of the picture is as much an emotional blank to us as he was at the beginning. His affair with the idealised beauty that is Julie Christie's Lara is also taken for granted by the filmmakers rather than set up in any convincing way, their mutual attraction remaining a mystery that creates a vacuum at the core of the picture. Given that none of the central characters with the exception of Rod Steiger's fire-breathing lecher Komarovsky ever give way to strong emotions, the romantic heart of the film remains oddly frigid. Matters are not helped by composer Maurice Jarre's incessant "Lara's Theme", which many will find teeth-grindingly irritating. Still, any David Lean epic, even a flawed one, is always going to be a first-class cinematic experience, and Zhivago is assuredly that.
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