This is a rarely seen videotaped presentation of the famed Actors' studio Broadway production of Anton Chekhov's classic play, THE THREE SISTERS. Sandy Dennis, Kim Stanley, and Geraldine Page are splendid in the title roles, three equally unhappy Russian sisters who all believe that their troubles will end if they ever return to their beloved Moscow. Shelley Winters is also terrific as their brother's nagging wife who does very little to brighten their dreary lives. Also in the marvellous cast is Kevin McCarthy and, in an early appearance, Robert Loggia. All-in-all, it's a faithful adaptation of the play, but powerhouse performances by the once-in-a-lifetime cast is what makes it so good. I actually prefer this one over the later 1970 version filmed by and starring Sir Laurence Olivier.
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verna556 November 2000
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jromanbaker4 May 2021Once upon a time there were great actors. They had fire and they had passion. It is over fifty years ago that such actors played on screen and stage. A lot worked almost uniquely on the stage like Uta Hagen in ' Who's Afraid of Virginia Woolf ', and she is to be heard in this play on YouTube, and you can also see there some of the greatest actors of all in the legendary ' Three Sisters; ' Geraldine Page, Kim Stanley and for me the finest of all Sandy Dennis. Accused by some now as having ' mannerisms ' they were all brilliant as being themselves as well as being others in many of the finest plays ever written. They were individuals in a community of fine actors, and their presence was not formulaic but their own; directed yes, but they knew exactly how to spark off each other and to achieve definitive performances. In this treasured production of one of the greatest plays ever written Kim Stanley, Geraldine Page and Sandy Dennis can be seen at their finest, each taking centre stage then retreating to give space for the others. Just watch the opening with Geraldine Page and Sandy Dennis and there in the background briefly seen, Kim Stanley listening, and there is no fighting to be the best for they are all the best and respect each other for it. I lay a bet viewers will never see their like again. I have not mentioned the men in the cast. All are perfect but it is the women who shine. Every actor alive should see this. It may not be Russian in feeling and that could be a criticism, but it is itself and I use a word I rarely use, universal.
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baker-915 August 2002This taped version of the Actor's Studio Broadway production of Chekhov's play is a valuable record of an interesting, though variable performance. However, most of the actors project their voices as if they were still in the theater, so you'll need a good remote handy while watching.
This film features most of the original Broadway cast, with the exception of Sandy Dennis as Irina (originally played by Shirley Knight) and Shelley Winters as Natasha (originally played by Barbara Baxley). As both Knight and Baxley got the least good notices for their performances on stage, it's probably no surprise they aren't here.
Given the Actors Studio penchant for exposing one's inner workings over period accuracy, some of the actors seem too contemporary in their manner to be 100% believable as turn-of-the-century middle-class Russians. McCarthy, Loggia, Winters (who's too old for Natasha anyway, and gives her standard shrew performance) and Dennis (whose signature vocal and physical mannerisms are too much in evidence) are particularly lacking in this regard.
Tamara Daykarhanova, who worked at the Moscow Arts Theater, is certainly the most authentically Russian of the cast as the old servant Anfisa.
Kim Stanley is best of the rest of the cast - her Masha is captivating, if a tad too unsympathetic. Geraldine Page is a good Olga, and Gerald Hiken is a fine Andrei, down to a very convincing folk dancer. I also liked James Olson's Baron - when he wasn't speaking too loudly - and Luther Adler's Doctor.
As an overall performance, I do prefer Olivier's version, but this one will be interesting for theater buffs to get an alternative take on the play, and for the good pieces of acting. Certainly Kim Stanley made so few films that it's worth checking out anything she did. -
grahamclarke24 May 2006During the mid fifties the British theater scene was in the doldrums while the New York scene was buzzing with a new generation of players connected with the Actor's Studio's. These actors under the spell of Lee Strasbourg and his "method" were turning in indelible performances, (most notably Marlon Brando in "Streetcar Named Desire".) The British theater establishment viewed "the method" with much suspicion if not outright disdain. When the Actor's Studio production of "The Three Sisters" came to London, both critics and audiences received an opportunity to vent their feelings with a particularly savage reception. By all accounts, (and this film based on that production is testament), this was not a successful production. While the Actor's Studio and its alumni participated in many legendary productions, the Method was indeed not foolproof, backfiring badly with "The Three Sisters". Ironic that ultimately the British theater was to be shaken up by their American counterpart.
The Method was a means for the actor to find the emotional truth of a scene through his own "sense memory". It seems that the actors in "The Three Sisters" somehow did not manage to complete this process. Most of the time they seem totally self absorbed to the point that what we are presented with is a string of monologues with a minimum of interaction between the characters. It's all very narcissistic and undermining to the play.
Geraldine Page as Olga delivers a surprisingly unmemorable performance. As Irina, Sandy Dennis in her first major film role is given free reign to unleash all her idiosyncratic mannerisms. Her constant arm movements make it seem at times as if she were signing for the hard of hearing. When not flailing, she intermittently covers her mouth with her hand. For a short time it's interesting, but soon becomes quite unbearable to behold. Shelley Winters was not in the original staging but in a move of misjudgement was brought on board. She delivers the routine shrill Winters performance that would dominate her entire career.
And then there's Kim Stanley. It is reputed that the hostile reception received in London is to blame for her leaving the stage. While there may be some truth to this, no doubt there were many other reasons. She's the only performer here who generates any real interest with subtly nuanced acting. However it has to be said that by this point she was overweight and her features had become coarse, making the dapper Vershinin's attraction to her somewhat dubious. While never a beauty she passed as a screen siren in "The Goddess" some years back on the strength of her acting talent, (as did Geraldine Page in "Sweet Bird of Youth".) Stanley had the knack of seeming spontaneous and natural. It looked to be effortless and uncalculated and always interesting. Since her screen appearances are so few, she remains the only reason for seeking out this version.
But be warned, it's a tedious 167 minutes.
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It takes a lot of patience to get into this dreary filming of a Anton Chekhov play, looking more like a TV play than a motion picture for the big screen. Still it's difficult to pass it up based on the cast, with Geraldine Page, Kim Stanley and Sandy Dennis as the sisters, Gerald Hiken as their brother, Shelley Winters as the annoying sister-in-law they try to avoid (even though she cloyingly insists that they're all ridiculing her) and Robert Loggia and Kevin McCarthy as important visitors.
The film is quite difficult to get into because of the stale production values, much more appropriate for a Hallmark Hall of Fame presentation (like "MacBeth", "Medea" and "Victoria Regina") than the release it got. Perhaps more appropriate for a museum presentation where the audience was prepared for something like this.
There's little action, just the family sitting around, talking about better days in Moscow, occasionally arguing, or the three women expressing their regrets. The direction of Paul Bogart is pretty stagnant. This is like so many Chekhov and Ibsen plays that may be thrilling on the stage, but it loses so much on the small screen that expanding its size only accentuates the flaws. Poor Winters appears that she's going to pass out from her breathy line delivery. Of the three sisters, Dennis stands out, playing the character to seem like a younger version of Birdie from "The Little Foxes".