Claysaba Excellent, Without a doubt!!

Forumrxes Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Donald Seymour This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

writers_reign I sympathise with the Russian poster who took exception with Mamet's tampering with Chekhov but I still admire this film a great deal. As a non-Russian and non-Russian speaker I have loved Chekhov since the time I was able to distinguish great writing from mediocre and I have always felt that no matter how fine a given translation I was still losing the occasional untranslatable nuance to which Russian speakers have access. Vanya is also one of my favourite Chekhov plays and I just wallowed in this wonderful version. It's magical the way that once inside the rehearsal space with the actors schmoozing Wally Shawn stretches out on a bench almost imperceptibly and Larry Pine asks Phoebe Brand casually how long they've known each other and unless you really know Chekhov you'd think this was just actor small-talk instead of the first lines in the play between the Doctor and Nanny,or, to put it another way, Malle has led us both artfully and seamlessly into the performance and then, having done so, he throws in a touch of the Brechts by deliberately reminding us we're watching actors acting and not people living. The first time he tips his glove is via Wally Shawn's cup which has I Love NY written on it then later Andre explains to the visitors (who, I suspect, have been planted there for just that purpose) that it's now a different time. The acting throughout is beyond praise and a wonderful high note for Louis Malle to end his career. 10 out of 10 going away.

aimless-46 If anything in life is certain it is that if you didn't like Louis Malle's "My Dinner with Andre" you won't like his "Vanya on 42nd Street. But even this cannot be entirely depended on, because if you have matured as a movie viewer since seeing "Andre", you might find yourself unexpectedly able to appreciate "Vanya".Both films are superficially minimalist, relying on script and acting talent to entertain, although Malle's shot selection is also an important element of Vanya. The only real effect is a recorded voice-over sequence for Julianne Moore's character Yelana. As the voice-over plays Yelana's thoughts, the camera is tight on her face and Moore's facial expressions must subtly mirror her thoughts. This is a routine "film" device but in this stage-film context it provides Malle an opportunity to simultaneously utilize the best of both mediums. Acting for camera is different than acting for the stage, particularly in the degree of expression dimension. In this sequence Moore must act for the camera while pretending to be acting for a theater audience. I think this was the best sequence in the film, tight shots like this are an area where the film performance is more demanding than a live stage performance.The opening scenes of "Vanya on 42nd Street" suggest "My Dinner with Andre", as each member of the scattered ensemble makes their way through the crowded streets of Manhattan for a rehearsal at the rundown New Amsterdam Theater. Once inside they exchange casual conversation and before we realize it the play has started. The lighting has been subtly altered and a large table on the stage has become a sitting room on a rural estate in Russia. But this is not a dress rehearsal and the cast performs in their street clothes.The subject of Anton Chekhov's late 19th century play is what use should we make of our lives? The deeper subject is the moment of introspection when one confronts the fear that they have wasted theirs. Some complain that since the play is a translation from Russian and is over 100 years old, it reflects a culture too foreign to be of relevance today. While they are correct about regular reminders that the setting is not contemporary, you just as regularly find yourself surprised that Chekhov's subject and theme are so universal and timeless.During Sonya's long monologue to close the film (perfectly handled by Brooke Smith who literally glows from the moment you see her in the first crowd scene) I was reminded of Virginia Woolf's likewise introspective "Mrs. Dalloway"-written 30 years later in England. Sonya closes the play by expressing her hopes that while we can do nothing but endure in this life, at least we may find a perfect mercy beyond the grave. Clarissa Dalloway looks through a bookshop window to find the passage "Fear no more the heat o' the sun/Nor the furious winter's rages".

stevealfie "Uncle Vanya" is a wonderful bare bones adaptation of one of the theater's classic plays. Let's face it, the average American who had to read Checkov in some required high school English class, was probably bored to tears. Same with Ibsen, Shakespeare, O'Neill, and any other classic dramatist.Mamet's adaptation gives us a "Vanya" that has truths that are universally identifiable. We can easily sympathize or empathize with all of the characters. This "toned down" version is perfect for getting the audience absorbed without having to rely on costumes or Russian settings.Malle is at his best with this film. He tells the story simply, and allows his actors to take the time to find truth in the moment. Though you know that you are watching a presentation of a play, it never feels "staged" to the point of being false.The acting is magnificent, all the way around. Larry Pine shines as the doctor who is a friend to Vanya. Julianne Moore is wonderful as the woman whom Vanya and the Doctor love.My only problem with the film was the casting of Wallace Shawn as Vanya. His whiny voice and too often closed eyes irritated me to the point where I found his scenes difficult to watch.This says a lot about the other performances and other aspects of the film. That to have a pivotal character be miscast, and yet find the rest of the film compelling, is a credit to the others involved.

Ben Parker A group of New York actors go to a 42nd Street theatre and rehearse their production of Chekhov's Uncle Vanya. The result is an interesting experiment, though still a novelty film.Many reviewers here have claimed that they got completely into the play, and forgot they were only watching a group of characters rehersing Vanya. I rather thought its success was the way it operated half as actors rehersing Vanya, half as the action of Chekhov's play itself - and the way Malle vascillated every now and then between which reality was stronger. The two most effective moments in it for me were...(spoilers - these two bits are nicer as surprises)When all of a sudden we hear a voiceover - we hear a character's thoughts. This isn't part of the rehersal. The audience inside the theatre don't hear this - only the audience of the movie, me, hear it. This moment suddenly zoomed me into the action of the play... and for a while after had me wondering, okay, is this stuff really happening? Is this play real? The other one, of course, as zetes mentioned, is the cup saying "I love NY," which zooms us into the reality of the artifice, the performance.(end spoilers)I didn't think the rehersal was perfect, though. It may be better than any Chekhov anyone has seen, but it still had the artifact of any translated play, particularly Russian ones, of dialogue which is impossible to make sound anything but theatrical, actors reading lines. No single line of dialogue here is something an english-speaker would say. It just doesn't sound natural - so, no - i don't think it works completely as action, and therefore i was always aware of the artifice, the performance - and the value of this very quickly wore off, and i got very bored. For it to completely work, you have to get into the action of the play - and i don't think it succeeds at that.I was always aware of both levels of reality - never completely in both of them - which is an achievement as a novelty - but its novelty had worn off very quickly before its two hour running time ran out.3/5. Julianne Moore virtually carries this film on her shoulders, by the way. She's magnificent.