OK, here’s the scene: it’s a rainy Sunday afternoon in December 1962, you’re all tired out from a hard week at work and you just want to go see a movie. So you go to the cinema, you’re looking at the ads, and you find a movie with a silly name, but you think, y’know, it’s Yul Brynner and Tony Curtis, it’s got horses and swords and jumping off things and Panavision … this will pass the time.
By those standards, Taras Bulba is a fine film. It’s got everything you want, really. Landscapes, swordfights, grappling, betrayals, a love story, people charging around on horses, poorly contextualised stunts, Tony Curtis looking intently at stuff, battles, explosions, feats of strength, a daring break-in or two. Heck, it’s even got a few songs. It’s big, it’s bright, a bunch of stuff happens, and no one was ever meant to take it seriously. It’s got a heck of a good score, too.
There’s a lot of this kind of thing, by the way: if you don’t like people brandishing sabres, this is not the movie for you.
So anyway, as I have said, by the standards of the big-screen historical epic, this definitely is one. Better than The Conqueror, I’ll tell you that much. But I have to admit I lost interest by the end; by modern standards there’s quite a lot of padding on it, and the corny stereotypes are distracting.
I’ve talked before about how much the historical epic genre owes to 19th-century Romantic nationalism, often in the form of 19th-century novels, and this one is no exception. It’s based on a short novel or novella by Gogol, which is in turn loosely based on the history of various conflicts between the Zaporozhian Cossacks and the Polish-Lithuanian Commonwealth. The film turns a lot of the ethnic hatred in the text into generic free-people-versus-tyranny stuff, and also leaves out the Jewish stereotypes, which is nice. It also ignores quite a lot of the rest of the story, at least as I understand it (I haven’t read the novel). The book had two editions; an 1835 one that the Russian authorities considered too Ukrainian, and an 1842 one that was more solidly pro-Russian. The film just ignores all that stuff, not mentioning either Russia or Ukraine anywhere.
I don’t think you’ll learn anything about Cossack culture or Ukrainian history from this, to be honest; it’s just the usual Hollywood barbarian stuff. They’re wild! They’re free! They love life but live by a strict code! They have virtues that snooty city folk ignore! You know the kind of thing.
So, yeah, it’s OK; it’s just a mostly content-free adventure movie with a Romeo-and-Juliet love story in it and lots of guys in sheepskin hats waving sabres. But if you’re our guy in December 1962 who’s decided he wants to see a big sweeping epic movie in which people ride around on horses and it’s bright and beautiful and there’s drama and great performances, and you’re looking at the movie ads in the paper, well, you know what’s only been out for eight days at this point? Lawrence of Arabia. And as much as Taras Bulba is an OK film, well …
… you know?