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Title : In "Dr. Zhivago," one line stands out — starkly — and reveals the meaning of the long, stately sequence of images.
link : In "Dr. Zhivago," one line stands out — starkly — and reveals the meaning of the long, stately sequence of images.

In "Dr. Zhivago," one line stands out — starkly — and reveals the meaning of the long, stately sequence of images.

Ah, I know I could not understand it in 1965 when I was 14, and I could barely understand movies at all. I hadn't yet accustomed myself to cinematic storytelling. I was continually confused. Why are they going there? Is that the same guy? It took me a while to face the fact that it was my job to pick up the clues and put things together. If you're drifting along waiting for things to make sense, wondering what you're looking at that and why are they doing that, a 3-hour-and-39-minute movie is an awful slog.

And it was a slog the second time around too. Even with better understanding of the grammar of film, I wasn't patient with the filmmaker's approach to storytelling, the long lingering on images — branches of trees waving in the wind, a corpse inside a grave, the gray sky, the balalaika, the expanses of snow, the frosted-up windows, the lovers' eyes. It was only thinking about it the next day that it occurred to me that all those shots represented the poetry that formed inside the head of Dr. Zhivago. We were told time and again that he was a great poet, but not one word of his poetry was ever heard. Instead, we got the poetry of the filmmaker (David Lean). I don't believe his shots were wonderful enough to stand in for great poetry, but then, if we'd heard the words, they probably wouldn't have sounded so great either. So let the big brown gazing eyes of Omar Sharif represent ART!

The line that reveals the meaning of the movie is: "The personal life is dead in Russia. History has killed it." The revolution has taken place and Zhivago is confronted by the Bolshevik commander Strelnikov (Pasha Antipov):

Pasha: I used to admire your poetry.
Zhivago: Thank you.
Pasha: I shouldn't admire it now. I should find it absurdly personal. Don't you agree? Feelings, insights, affections... it's suddenly trivial now. You don't agree; you're wrong. The personal life is dead in Russia. History has killed it. 

I had trouble in 1965 — and I had trouble in 2019 — understanding why I should care about Dr. Zhivago's romantic life. He has a wife, and she's perfectly fine (Tonya, played by Geraldine Chaplin), but he's fixated on another woman (Lara, played by Julie Christie), and we're supposed to root for Lara, apparently because her eyes are fakely lighted up and a balalaika tune plays every time Zhivago feels drawn to her.
When I was 14, I took the cue and rooted for Lara. Why wouldn't Tonya melt away and let the lovers have what nature declares belongs to them? At 68, I felt irritated to be pressured to see an adulterous affair as the most important thing in the world. Strelnikov was a monster, but I had low regard for Zhivago's personal life. Much more important things were going on all around him, but he put this affair above everything else (including the rest of his personal life). It was absurdly personal.

As Bogart says to Bergman in "Casablanca," "It doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world."

Fortunately, in my "imaginary film project," I'm challenged to process my feelings and write about it. My project is absurdly personal. Feelings, insights, affections... so trivial.

And yet... I collected my thoughts, and I decided that Lara symbolized the life of Russia, and Dr. Zhivago needed to save her and preserve her through love.  In one scene, Dr. Zhivago uses a surgery metaphor to talk about the revolution:

Zhivago: You lay life on a table and you cut out all the tumours of injustice. Marvellous.
Yevgraf: "I told him if he felt like that he should join the party."
Zhivago: Ah, but cutting out the tumours of injustice - that's a deep operation. Someone must keep life alive while you do it. By living. Isn't that right?

By living a personal life — in spite of the revolution — he was keeping the country alive. He's a doctor and a poet. Everything depends on him. It's for others to be the revolutionaries, to get caught up in the politics. He has something more important: His personal life. He needs to live it, and he needs to write about it, to preserve personal life to pass it on to Russia.

Zhivago asks Yevgraf, if he thinks the poetry is "personal, petit-bourgeoise and self-indulgent." Yevgraf says yes, but he's telling the story years later — after Zhivago's death — and admits that he lied. Yevgraf is telling the story to a girl he believes is the long lost daughter of Lara and Zhivago. The girl — played beautifully by Rita Tushingham — is dubious. She doesn't want to believe the story if it's not true. Yevgraf takes that to mean that she is Zhivago's daughter. He didn't what to believe what was not true, and "That's inherited." And the girl has a balalaika, and she can play it. She taught herself — "She's an artist!" Another inheritance — "It's a gift." She's kept life alive.

***

Next up in the imaginary movie project — more Russians! And with that clue it should be easy to guess what I saw in 1966 and rewatched today.

Thus articles In "Dr. Zhivago," one line stands out — starkly — and reveals the meaning of the long, stately sequence of images.

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