War and Peace () is a 1965–1967 Soviet epic war drama film co-written and directed by Sergei Bondarchuk, adapted from Leo Tolstoy's 1869 novel. Released in four installments throughout 1965 and 1967, the film starred Bondarchuk in the leading role of Pierre Bezukhov, alongside Vyacheslav Tikhonov and Ludmila Savelyeva, who depicted Prince Andrei Bolkonsky and Natasha Rostova.
The film was produced by the Mosfilm studios between 1961 and 1967, with considerable support from the Soviet authorities and the Soviet Army which provided hundreds of horses and over ten thousand soldiers as extras. At a cost of 8.29 million Rbls (equal to US$9.21 million at 1967 rates, or $60–70 million in 2019, accounting for rouble inflation) it was the most expensive film made in the Soviet Union.
Upon its release, it became a success with audiences, selling approximately 135 million tickets in the USSR. War and Peace also won the Grand Prix in the Moscow International Film Festival, the Golden Globe Award for Best Foreign Language Film and the Academy Award for Best Foreign Language Film. Since its release, the film has often been considered the grandest epic film ever made, with many asserting its monumental production to be unrepeatable and unique in film history.
Plot
Part I: Andrei Bolkonsky (Война и мир: Андрей Болконский) In Saint Petersburg of 1805, Pierre Bezukhov, the illegitimate son of a rich nobleman, is introduced to high society. His friend, Prince Andrei Bolkonsky, joins the Imperial Russian Army as aide-de-camp of General Mikhail Kutuzov in the War of the Third Coalition against Napoleon. As Pierre's father recognizes him, Pierre attracts the attention of Hélène Kuragina and marries her, only to learn through rumor that she has been unfaithful and slept with Fyodor Dolokhov, an intimate of Hélène's brother Anatole. Meanwhile, Andrei takes part in the failed campaign in Austria, where he witnesses the Battle of Schöngrabern and the Battle of Austerlitz, is badly wounded and mistaken for dead. He returns to his father's estate just in time to witness his wife Lisa die during childbirth.
Part II: Natasha Rostova (Война и мир: Наташа Ростова) In the end of 1809, Natasha, the young daughter of a count attends her first ball at age 16. Andrei Bolkonsky falls in love with her and intends to marry her, but his father demands they wait. Andrei travels abroad, and Natasha desperately longs for him. But she then meets the handsome Anatole Kuragin who falls in love with her and follows her with much passion. Overwhelmed Natasha decides she prefers him over Andrei. At the last minute, she regrets her choice and abandons her plans to elope with Anatole. However, Andrei has heard of her plans and declares their betrothal is over. Natasha suffers a nervous breakdown. Pierre, trying to calm her down, suddenly announces he loves her.
Part III: The Year 1812 (Война и мир: 1812 год) In 1812, Napoleon's Army invades Russia. Field Marshal Kutuzov is appointed by the Tsar to defend the land. Kutuzov asks Andrei to join him as a staff officer, but he requests a command in the field. Pierre approaches the battlefield of the upcoming confrontation between the armies during the Battle of Borodino, he volunteers to assist in an artillery battery. Andrei's unit waits in the reserve, but he is hit by a shell and both he and Anatole suffer severe wounds. The battle involves hundreds of thousands of soldiers, thousands of horses, and hundreds of cannons firing from both sides. The French army forces the Russian army to retreat, leaving Moscow unprotected. Napoleon advances on Moscow.
Part IV: Pierre Bezukhov (Война и мир: Пьер Безухов) As Moscow is set ablaze by the retreating Russians, the Rostovs flee their estate, taking wounded soldiers with them, and unbeknownst to them, also Andrei. Pierre, dressed as a peasant, tries to assassinate Napoleon but is taken prisoner. As the French are forced to retreat, he is marched for months with the Grande Armée, until being freed by partisans. The French army is defeated by Field Marshal Kutuzov in the Battle of Krasnoi. Andrei is recognized and is brought to his estate. He forgives Natasha on his deathbed. She reunites with Pierre as Moscow is being rebuilt.
Cast
Sergei Bondarchuk as Pierre Bezukhov Ludmila Savelyeva as Natasha Rostova Vyacheslav Tikhonov as Andrei Bolkonsky Boris Zakhava as Mikhail Kutuzov Anatoly Ktorov as Nikolai Bolkonsky Antonina Shuranova as Maria Bolkonskaya Oleg Tabakov as Nikolai Rostov Viktor Stanitsyn as Ilya Rostov Kira Golovko as Natalya Rostova Irina Skobtseva as Hélène Kuragina Vasily Lanovoy as Anatole Kuragin Irina Gubanova as Sonya Rostova Oleg Yefremov as Fyodor Dolokhov Eduard Martsevich as Boris Drubetskoy Aleksandr Borisov as Uncle Rostov Nikolai Rybnikov as Vasily Denisov Viktor Murganov as Alexander I of Russia Larisa Borisenko as Mlle. Bourienne Georgy Millyar as Morel Nonna Mordyukova as Anisya Anna Timiryova as old lady Boris Khmelnitsky as Bolkonsky's adjutant Valeri Yeremichev as Alexander Ostermann-Tolstoy Boris Smirnov as Vasili Kuragin Nikolai Tolkachyov as Kirill Bezukhov Dzhemma Firsova as Katishe Mamontova Mikhail Khrabrov as Platon Karataev Nikolay Trofimov as Tushin Vladislav Strzhelchik as Napoleon Jānis Grantiņš as Ludwig von Wolzogen Dz. Eizentāls as Carl von Clausewitz Galina Kravchenko as Marya Karagina Boris Molchanov as Louis-Nicolas Davout Lev Polyakov as Jacques Lauriston Rodion Aleksandrov as Alexander Balashov Anastasiya Vertinskaya as Lisa Bolkonskaya Giuli Chokhonelidze as Pyotr Bagration Vadim Safronov as Francis II Jean-Claude Ballard as Ramballe Yelena Tyapkina as Marya Dmitryevna Sergei Yermilov as Petya Rostov Nikita Mikhalkov as Petya Rostov's body double during hunting (uncredited) Herberts Zommers as Count Benningsen Nikolai Bubnov as Karl Mack von Leiberich Angelina Stepanova as Anna Scherer Erwin Knausmüller as Franz von Weyrother Mikhail Pogorzhelsky as Michael Andreas Barclay de Tolly Leonid Vidavsky as Paisi Kaysarov Nikolai Grinko as Dessalles
Production Inception In August 1959, King Vidor's American-Italian co-production War and Peace was released in the Soviet Union, attracting 31.4 million viewers and gaining wide acclaim. The impending 150th anniversary of the 1812 French Invasion, as well as the worldwide success of Vidor's adaptation of the Russian national epic – at a time when the USSR and the United States were competing for prestige – motivated the Soviet Minister of Culture Yekaterina Furtseva to begin planning a local picture based on Leo Tolstoy's novel.Razzakov. o Vojne. p. 6. An open letter which appeared in the Soviet press, signed by many of the country's filmmakers, declared: "It is a matter of honor for the Soviet cinema industry, to produce a picture which will surpass the American-Italian one in its artistic merit and authenticity." According to Der Spiegel, the film was to serve as a "counterstrike" to Vidor.
During 1960, several leading Soviet directors proposed themselves to head the project, including Mikhail Romm and Sergei Gerasimov. But soon, the only viable candidate remaining was Ivan Pyryev. As his selection to the position seemed secure, several officials in the Ministry of Culture offered it to forty-year-old Sergei Bondarchuk, who had completed his directorial debut, Fate of a Man, in 1959. Bondarchuk had not sought the position and did not know of the proposal until a letter from the Ministry reached him, but he chose to accept it and contend with Pyryev.Razzakov. Gibelʹ sovetskogo kino. p. 74.
Fedor Razzakov wrote that the invitation of Bondarchuk was orchestrated by Pyryev's many enemies in the establishment, who were determined not to let him receive the lucrative project. In early February 1961, a letter endorsing Bondarchuk was sent to the Minister, signed by several prominent figures from the cinema industry. At first, Furtseva decreed that both candidates would each direct a pilot to be screened before a commission. However, Pyryev soon withdrew his bid. Razzakov believed he had done so after realizing his chances were slim: Bondarchuk, whose career began only during the Thaw, represented a generation of young directors promoted by Nikita Khrushchev's Kremlin to replace the old filmmakers from the Stalin era. In the end of February, after Pyryev conceded, the Minister held a meeting and confirmed Bondarchuk as the director.Razzakov. Gibelʹ sovetskogo kino. p. 75.
Development
On 3 April 1961, Vladimir Surin, the director-general of the Mosfilm studios, sent Furtseva a letter requesting to approve the adaptation of a script for a film in three parts based on War and Peace, as well as to allocate 150,000 Rbls in funds. On 5 May the Minister replied, authorizing to begin writing the scenario and granting 30,000 Rbls. On that day, the work on the picture began.Razzakov. o Vojne. p. 224.
Bondarchuk hired Vasily Solovyov, a playwright, as his assistant for composing the script. The two later changed the earlier premise and decided to make four parts instead of three. They chose to downplay or exclude completely several of Tolstoy's plotlines and themes, in order not to make the film too cumbersome: the episodes concerning Nikolai Rostov and Maria Bolkonskaya were reduced, and Anatole Kuragin received a slightly better treatment. The author's views on philosophy and history were substantially redacted.Muskyi. p. 274.
The Mosfilm directorate approved the finished script on 27 February 1962. On 20 March, in a plenum in the Ministry of Culture attended by Surin and the State Committee for Cinematography's deputy chairman Basakov, Furtseva approved the scenario and requested all relevant agencies to assist the producers, including the Ministry of Defense, which was deemed central in providing support for the project.Razzakov. o Vojne. p. 225.
The producers appointed three military advisers: Army General Vladimir Kurasov became the film's chief consultant, and Army General Markian Popov also assisted;Palatnikova. p. 75. Lieutenant General Nikolai Oslikovsky was brought in as an expert on cavalry. The Soviet Army would supply thousands of soldiers as extras during the filming.
More than forty museums contributed historical artifacts, such as chandeliers, furniture and cutlery, to create an authentic impression of early 19th-century Russia. Thousands of costumes were sewn, mainly military uniforms of the sorts worn in the Napoleonic Wars,Muskyi. p. 275. including 11,000 shakos. Sixty obsolete cannons were cast and 120 wagons and carts constructed for the production.
Anticipating the need for cavalry, line producer Nikolai Ivanov and General Osilkovsky began seeking appropriate horses. While the cavalry formations of the Army were long abolished, several units in the Transcaucasian Military District and the Turkestan Military District retained horse-drawn mountain artillery. In addition to those, the Ministry of Agriculture donated nine hundred horses and the Moscow City Police provided a detachment from its mounted regiment. The producers also needed to arrange hounds for the wolf hunting at the Rostov estate. At first, it was planned to use borzois, as depicted in the novel. Sixteen borzois were obtained from individual private owners, but the dogs had no experience in hunting and were hard to handle. Eventually, scent hounds supplied by the Ministry of Defense chased down the wolvesprovided by the zoological department of the State Studio for Popular Science Filmswhile the borzois caught them.
Casting