Director: Vladimir Bortko
Country: Russia
Award: none
Movement: none
The film is an adaptation of the novel The Master and Margarita written by the Russian author Mikhail Bulgakov. Three story lines are interwoven. The first story is a satire of the 1930s in the 20th century, the period during which Joseph Stalin was in power in the Soviet Union. The devil Woland comes to Moscow to have his annual Spring Ball of the Full Moon. Together with his demonic suite, he challenges the corrupt lucky ones, bureaucrats, and profiteers of that period in an hilarious way.. The second story line is set in the biblical Yershalaim, and describes the inner struggle of Pontius Pilate before, during, and after the conviction and execution of Yeshua Ha Nozri. The third layer tells the love story between a nameless writer in Moscow in the 1930s and his lover Margarita. The Master has written a novel about Pontius Pilate, a subject which was taboo in the officially atheistic Soviet Union. This was Bortko's second attempt to make a screen adaptation of Bulgakov's masterpiece. In 2000 he had already been solicited by the Kino-Most film studio, associated with competing channel NTV; but at the last moment Kino-Most did not reach an agreement with Sergei Shilovsky, grandson of Mikhail Bulgakov's third wife Elena Sergeevna Shilovskaya, the self-declared owner of the copyrights. In 2005, Telekanal Rossiiya reached an agreement with Shilovsky.[1 This TV-epopee of more than eight hours was heavily criticized, or at least regarded with much skepticism. The first broadcast on December 19, 2005, was preceded by months of controversy in the media. Opponents feared that filming the work for television would sacrifice the layered narrative of the novel and the complexity of the socio-political and metaphysical themes to the popular demands of the broadcast medium. Director Bortko followed the dialogues of the novel carefully, and the series became the most successful series ever on Russian television. Most of the criticism stopped after the first appearance on screen. On December 25, 2005, 40 million Russians watched the seventh episode. Despite the fact that the city of Moscow plays an important role in the novel, director Vladimir Bortko opted to shoot the 1930s scenes in Saint Petersburg. “Saint Petersburg today is much more like Moscow in the Stalin period than Moscow today,” he said. The biblical scenes were shot in Bulgaria and in the Crimea. Unlike previous screen adaptations, director Vladimir Bortko followed the novel meticulously. The setting of a TV-series appeared to be an ideal format to elaborate the complicated, multidimensional work with many different characters. “Bulgakov wrote the novel almost like a screenplay”, Bortko said.
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