by Frank Calvillo
The story of Anastasia and the Romanov family is perhaps one of the most notorious and repeated true events of all time. Much has been made by way of speculation and theories regarding the fates of the two youngest members of Russia’s premier royal family. Doubtless the younger set know the tale courtesy of the animated film starring Meg Ryan and John Cusack, which, incidentally, still holds up. Others will no doubt find much to love about 1956’s Anastasia, which mixes the colorful glory of 1950s filmmaking with a spellbinding take on one of history’s most unforgettable tales.
Stemming from true events, Anastasia tells the story of Anna (Ingrid Bergman), a mentally ill woman who bears a striking resemblance to the Grand Duchess Anastasia, long thought lost or perhaps dead following the revolution. After being spotted by General Bounine (Yul Brynner), a Russian businessman, and his cohorts, Anna is recruited to be part of a plan to convince the Dowager Empress (Helen Hayes), Anastasia’s grandmother, and the last surviving member of the Romanov family, that she is her long-lost granddaughter. The plan sounds simple enough until questions arise as to whether or not Anna actually believes she IS Anastasia.
The one element which holds the film together better than anything else is the question of whether Anna is merely going along with the plan, or does indeed believe she’s really Anastasia. The real-life story of the Romanov’s alone would be enough for an interesting film, but here, it’s the central character’s state of mind which instantly makes Anastasia a compelling one. This is all helped by dialogue which proves itself as both ambiguous and poetic, such as when Anna says to herself: “One memory will be enough to convince someone…even if it’s only me.” Meanwhile, scenes such as the one where Anna successfully convinces a former lady in waiting, do have a definite entrancing magic that emcompass the beauty and power of the film. There is such a longing in wanting the rouse to be true and for Anna to actually be Anastasia, particularly in the heartbreaking first meeting between her and the Empress. Ultimately though, it’s Anna’s straddling of whether she believes she is, or isn’t, which proves such a gripping hook, keeping the audience on the edge of their seats and giving the film its life.
Director Anatole Litvak helmed one of my favorite films of all time, the 1948 thriller Sorry, Wrong Number, which remains the ultimate film noir in my humble opinion and the best performance Barbara Stanwyck’s ever committed to the screen. The darkness of that film, along with other titles on the director’s resume such as The Snake Pit and Decision Before Dawn, made me question just how Litvak would be able to pull off a production such as this. My doubts were quickly put to rest within the opening minutes. Anastasia is truly one of the most lavish and sweeping productions of the 1950s, which proves grand and captivating in every single way. The colors are gorgeous, the music superb, and Bergman has never looked as stunning on screen as she does here. While the subject matter is undoubtedly heavy at various times, Litvak somehow injects a great breezy feel to the film which never leaves. All of this is helped by Arthur Laurents’ amazing screenplay, which sparkles at every turn, with great humor and deep emotion. The scene in which the Dowager Empress meets Anna for the first time stands out in particular. “The firing squad were such poor shots, it was amazing that the revolution succeeded,” she states in reference to all the phony Anastasias that have been presented to her. In the same scene, when she has begun to believe Anna to be Anastasia, she gently tells her: “If it should not be you, please don’t ever tell me.”
Bergman’s work as the mentally fragile Anna is simply mesmerizing to watch; full of such deep commitment. In an era before the method became the norm for actors, Bergman showed what a far-reaching and skilled actress she was without training. Brynner makes for a strong scene partner in one of his greatest performances, giving a slightly sadistic turn with his character’s relentless determination to pass Anna off as Anastasia. There’s quite an interesting chemistry between Bergman and Brynner throughout Anastasia, with the former wild and unpredictable and the latter controlled and determined. Hayes, meanwhile, never had a better onscreen role. Her turn as the Empress makes such an impression just in her first scene when she is recounting all she has lost and how it has turned her into the woman she is today. The fact that her turn wasn’t rewarded with more accolades is yet another injustice in movie history.
I have some decidedly mixed emotions with regards to the ending of Anastasia. At the risk of giving everything away, I will not reveal the fate of the characters, but I must admit to feeling both happy and sad at the outcome of the film. The ending, by all accounts, is a happy one, but perhaps it was that longing and wishing that Anna was INDEED Anastasia and that she had finally found her way home that left me with a lingering sadness. But then again, that’s typically the downside to every cinematic fairy tale. Eventually the magic has to stop.
The Package
The release of Anastasia contains two commentaries featuring thoughts, observations and memories from film experts and screenwriter Laurents. While different in tone, both commentaries are worth a listen for the various takes on the film and the different views on the Romanov family. Making the commentaries even more interesting is the fact that each one was recorded years apart, during which time the mystery of Anastasia was finally solved.
Vintage newsreel clips, a theatrical trailer and a demo featuring the film’s main theme round out the disc’s special features.
The Lowdown
Anastasia is a masterclass in acting, a technicolor feast for the eyes, and an overall experience that pulls you in and never lets go until the final moments.
Anastasia is now available on Limited Edition Blu-ray from Twilight Time.
