Sibiriada (Siberiade) (1979)





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Movie Info

Sibiriada was controversial in the Soviet Union, but it received the Special Jury Prize at Cannes, the second most prestigious prize after the Palme d'Or. After making this film, director Mikhalkov-Konchalovsky moved to the West. In the story, the lives of two Siberian families lives are chronicled through three generations, beginning with the period just after the turn of the century, and carrying on through the '60s. Before the revolution, a poor boy is the same age as a girl from a rich family, who uses her family position to torment him. Meanwhile, his father has been building a "corduroy" wooden road into the forest. However, as the boy and girl grow up, they fall in love. Their union is forbidden by her family, and he is beaten by their henchmen and cast adrift at sea. During the Revolution, the girl flees her family, thinking to join her true love. Many years later, he returns to his village with his teenaged son, and discovers that the former rich girl was killed long ago. The teenaged boy, in turn, become a geological engineer, and returns to his father's village to look for oil. ~ Clarke Fountain, Rovi
Art House & International , Drama
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Natalya Andreichenko
as Anastasya Solomina
Nikita Mikhalkov
as Aleksey Ustyuzhanin
Sergei Shakurov
as Spiridon Solomin
Lyudmila Gurchenko
as Taya Solomina
Yevgeny Perov
as Yerofei
Mikhail Kononov
as Rodion Klimentov
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Critic Reviews for Sibiriada (Siberiade)

All Critics (2)

Prone to poetic abstraction and exuding a magical-realist's reverence for history.

Full Review… | January 6, 2007
Slant Magazine

Quote not available.

July 22, 2005

Audience Reviews for Sibiriada (Siberiade)


If your ready to sit and watch for four and a half hours, you'll see something very fulfilling. The movie's catchphrase seems to be "They can't exile you further than Siberia." I personally enjoyed one particular seen in the middle of the film when deputes from Moscow have come to take the boys away for the "Great Patriotic War" (WWII to the West). The war has already been going on for more than two weeks and the Nazis are making great head-way in the USSR and are within sights of Smolensk. When the depute tells the news of the war to the villagers, they are unaffected and inquire who has invaded. The scene encapsulates the situation in the Siberian village of Yelan, which is the focus of the film. The entire epic film (over four hours) centers on the turbulent history of Russia from the perspective of a single village isolated in the remote swamps of Siberia. The film begins in 1908, and ends sometime around 1980, marking some of the most important events in Russian history from WWI to the revolution to the Russian Civil War to WWII and the Cold War. The film itself touches upon a number of issues, from modernization to globalization as we see the village (and its villagers) continually effecting and being affected by the times. It is about continuity, tradition and personal lives in a simple village that seems to bear no significance to the world at all. Yet Yelan is a world in it of itself and the lives of its inhabitants, past and present, the inhabitants of that world. It is about a village trying to find its connection to the world. It is important to note that the presentation of this "evolution" of Yelan is portrayed in rather negative light. Konchalovskiy is a descendant of Russian nobility and clearly has his gripes with the Soviet regime. The film also boasts some of the most beautiful cinematography and presentation of Siberia.

Ted Pilkati
Ted Pilkati

"Siberiade" is an admirable celebration of a land and its people told in roughly ten year increments that each begin with a character arriving from the outside world and end with a character departing from parts unknown from an isolated village. As the village stays pretty much the same over the decades, as symbolized by the Eternal Old Man, the outside world is constantly changing. The story begins with a bang in the 1960's before flashing back to the 1910's as Anafasy is futilely trying to build a road to nowhere that occasionally interferes with his drinking. That leaves his son Kolya alone with an escaped revolutionary, Rodin, who is eventually recaptured by soldiers but not before he helps the boy build an ice boat and inspires his politically. Ten years later, Kolya has grown into a young man, helping his father and learns that the Czar has been forced out. This is not really big news since the new boss is the same as the old boss.

Walter M.
Walter M.

Super Reviewer

All the Epic One Sitting Can Take When we in the US, and I'm assuming people in a lot of other places, too, think of Siberia, mostly we think of frozen, inaccessible stretches of desolate wasteland. Those of us who have read any of the works of Aleksandr Solzhenitsyn have a hard time picturing it any other way. (Well, anyway, the one I read.) After all, there is poor Ivan Denisovich, watching the thermometer and wondering if he will be sent into that horrific cold to build for the Greater Glory of the Soviet State and all that. There's the fact that no one got to the site of Tunguska--no one bothered to go to the site of Tunguska--for any kind of scientific study for well over ten years, and when Leonid Kulik finally got funding for a proper study, it was closer to twenty, and it was incredibly difficult for him to get there even then. Siberia, to us, is really big and really desolate, and there's nothing there, and no one lives there except prisoners in the Gulag system. That's shut down; no one lives there now. Except our story is set in the small town of Yelan (the subtitles call it Elan; Wikipedia disagrees) out in the taiga, the northern forests. It's a marshy part of the region, and the people have lived there for time out of mind, eking out a living from hunting and gathering, it seems. There may be farming; if there is, we never see it. Probably there is fishing. They live there in the forest, untouched, behind their wooden palisade. Our two families are the Ustyuzhanins and the Solominas, who are both rivals and, it seems, intermarried. Certainly there isn't much of anybody else out there. (I will tell you now that I don't remember everyone's name, and neither IMDB nor Wikipedia are terribly helpful on the subject.) Afansy(?) Ustyuzhanin (Vladimir Simonov) is, for reasons even he cannot explain, building a road through the forest to a place called the Devil's Mane. He and his road and his son, Nikolai (played by three people, including Yevgeni Leonov-Gladyshev and, interestingly, Vitaly Solomin), are what start the plot, which goes from the pre-Revolutionary days and on to the sixties. There is much to recommend this movie, which seems to have actually been a miniseries, at least in intent. There are four parts to it, each set in a different decade. (Actually, Part I has both the teens and twenties, I think.) The town progresses through many changes in the region's history. It is when the Soviets start taking an interest that things really change. The changes only go faster when oil is found, or speculated to be there. On the other hand, by then, there are essentially no young people left. The young men had all been taken away to the war, and now, the young people have started just going to the city, leaving essentially nothing but old women. And, of course, the men who come to drill will not stay, even if the village survives. It had lasted for hundreds of years; the start of the film seems the end of the village. I was not, on the other hand, terribly fond of the score. After all the meticulous attention given to costumes and sets, having the cheesy synth music in the background seems kind of out of place. Or really out of place. And the costumes and sets are really impressive. As you should know by now, one of my standards for costuming in this sort of movie is not merely how appropriate it is to the piece but how lived-in it looks. These are clearly clothes people wear all the time. These are coats worn every winter, and every day of every winter, until they are too tattered to use anymore. (How accurate are they? I don't know enough about clothing in the region to say.) These are houses built to survive the weather, a wall built to keep out whatever may be out there in the forest. And the road into the trees is what is, in the United States, called a corduroy road, a road paved in logs to keep it above the mud. Just a track through the trees would return to forest very quickly and wouldn't be much good except in the height of summer anyway. The release here is by Kino, the bastard stepchild company of the Criterion Collection. The reason I think of it as such is that the releases are similar in genre, but Criterion is of much higher quality. This is not the greatest print--or, if it is, the print needs to be remastered. The special features--well, that would imply that there are special features. (There's a photo gallery; that doesn't count.) Oh, I'm glad there's a release at all, and I'm very glad to have had the chance to see it. (Thank you, Netflix! Also Lonewulf, who recommended it to me.) Better Kino than no one at all, and I suspect that, if more people knew the company even existed, their releases would be cleaned up. Though they might have to go the Criterion "movies that don't really deserve it" route, alas. I think Kino sees itself as preserving cinematic treasures more swept under the rug than the classics at Criterion. It's a laudable goal. I just wish they were doing a better job at it.

Edith Nelson
Edith Nelson

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