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At his wedding feast, one of Ivan’s friends, Prince Andrei Kurbsky (Mikhail Nazvanov) still tries to woo Anastasia, his former flame, and another, Fyodor Kolychev (Andrei Abrikosov), announces he’s going to avoid the inevitable power struggle by becoming a monk.The feast is interrupted by infuriated common folk, led by hulking Aleksei Basmanov (Amvrosi Buchma) and the chained, seer-like Nikolai (Vsevolod Pudovkin), who threaten to kill Ivan if he doesn’t follow through on his promise to break the boyars.You'll get a mention in the next issue of the Newsletter and get it delivered as desired. Also, please include your own promotions and awards in future issues. Lastly, this is your newsletter and you can be involved in the creation of the next issue (Issue 4 – April 2009). Simply let yourself be known to any of the undersigned, or just start editing! The result was another of many fiascos that plagued Eisenstein: the second part of the proposed trilogy was shelved and left unseen for more than a decade, well after Eisenstein had died at only 50 years of age.Eisenstein’s film, whether deliberately or not, commences as an expressionist panegyric to ruthlessly strong leadership and curdles steadily into an hysterically gothic, insidious portrait of power corrupting.
The next generation of Russian directors like Andrei Tarkovsky and Sergei Paradjanov would build upon Ivan the Terrible’s precepts for constructing a totally immersive kind of cinema.Only Kurbsky emerges from this smelling like a rose, because while trying yet again to seduce Anastasia, he hears of Ivan’s recovery and so makes the pledge to the young prince.This pleases Ivan, who sends him off to war in the west against the Polish and Livonians, who are conspiring to stifle Russia’s trade with England.Even neighbouring Kazan Khanate declares war on him, but Ivan, with Kurbsky as his general, musters a great military force and conquers Kazan instead.The potential power of a united Russia is confirmed, but Ivan falls ill while returning from the war, and the boyars, with Staritskaya leading, refuse to swear allegiance to Ivan’s infant son.
During his stay in Mexico, Eisenstein’s friends Diego Rivera and Frida Kahlo had encouraged him to regard his movies as “moving frescoes,” a phrase which describes much of Ivan the Terrible perfectly.