`Onegin': A Cold Comeuppance in St. Petersburg December 22, 1999 FILM REVIEW `Onegin': A Cold Comeuppance in St. Petersburg Related Articles• Forum • By STEPHEN HOLDEN If the camera spends enough time contemplating an attractive face, isn't it bound eventually to uncover the mysteries of the Mona Lisa?
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Sep 27, 1999 - September 27, 1999 12:00AM PT. With: Evgeny Onegin. The film has plenty: Onegin's first glimpse of his future beloved has a magical.
That seems to be the guiding principle of the first-time director Martha Fiennes (Ralph's sister) in photographing Liv Tyler's scenes for the film 'Onegin.' In this rickety screen adaptation of Alexander Pushkin's verse novel 'Eugene Onegin,' Ms. Tyler is Tatyana, an enigmatic heartbreaker who reduces the arrogant, rakish title character (Mr.
Fiennes) to a quivering wreck. Samuel Goldwyn Films Ralph Fiennes portrays Evgeny Onegin, a dashing aristocrat who causes women to melt and men to grovel. But the longer the camera lingers over Ms. Tyler's impassive face, the less it discovers. There are no hidden pools of passion or wit, no tantalizing secrets lurking behind her blank, expressionless gaze.
Late in the movie, when her eyes brim with tears, the only emotion Ms. Tyler conveys is the peevish frustration of a little girl who has misplaced her Barbie doll. Since 'Onegin' was made with a largely English cast, Ms. Tyler is forced to affect an approximation of an English accent, and the effort only makes her performance seem all the more inert. The excruciating mismatch of Ms. Tyler, the celluloid equivalent of vanilla pudding, with Mr. Fiennes, the screen embodiment of restless, neurasthenic romanticism, is only one of many elements in 'Onegin' that feels out of balance.
That mismatch fatally reduces a love story of Scarlett-and-Rhett dimensions to a portrait of an unlikely, not-very-compelling relationship foiled by bad timing. Almost everything that's good about 'Onegin' emanates from Mr. Chertezhi samoleta h 14a.
Fiennes's complex portrayal of a wealthy, dashing aristocrat cursed by his propensity for boredom and his ability to see through every social facade. Of course, we've seen versions of this refined, overbred malcontent before in 'The English Patient,' 'The End of the Affair' and in Mr. Fiennes's cool, haughty profile-to-the-audience stage portrayal of 'Hamlet.' Onegin's impatient, know-it-all attitude along with his swashbuckling poet's sensibility cause women to melt before him and men to grovel for his approval. When he inherits his uncle's vast estate, Onegin becomes the 1820's Russian equivalent of the master of the universe. The character is also something of a radical idealist with an urge to flout convention.