“How does a person find something to love? Love must come from somewhere—or someone.”
I remember having to read Dostoevsky’s massive The Brothers Karamazov in college. I wasn’t my favorite assignment, although it is filled with philosophical and theological inquiry into our nature. (You might think of it as a 19th Century Russian version of Succession.) The essence of the story has been reworked by Anna Brenner in her film, The Karamazovs.
The story is updated to current day and relocated to Martha’s Vineyard. But perhaps the biggest shift is that only one of the three siblings is male. We learn that Fyodor Karamazov, the family patriarch is going to be murdered, even though he is already dying. The siblings return home, at the bidding of the eldest, Dmitri (Ross Cowan), who in many ways resembles the Prodigal Son from scripture. (Although his return is not to seek forgiveness, but more money.)
Viv (MK Tuomanen) is the Ivan character. Viv is an artistic film maker who believes in getting whatever you can, because there is not God (as is proven in her mind from the lack of justice in the world). Alyosha (Rachael Richman) has joined a local monastery where she is seeking to find peace with the world through her faith. There are various connections between the siblings that echo plot points in the book.
There is also a fourth main character, Liz (Rami Margron), who is based on the Pavel Smerdyakov character in the book. Liz is the caretaker of the family home and has been the caregiver for Fyodor during his illness. She serves as the narrator of the story, as well is the connection between the siblings and their father (whom we usually just encounter through his verbal rants).
The murder, while foreshadowed throughout the film, really plays only a small role in the story. Certainly, we understand that there is no love lost between these siblings and their father (or each other). Fyodor was never a loving father for any of them. Each could have a motive for killing the old man. And none seem all that upset when it happens.
As I said, the Dostoevsky novel (which comes in at a bit under 900 pages) is filled with philosophical, ethical, and theological concepts. It would seem a bit unfair to expect a film that runs a little under an hour and a half to present the same kind of depth. There are points where we see bits of the ideas put forth in the book, but they can only be touched on quickly so the characters can move on to yelling at each other. (Or in a few cases, showing a bit of sibling affection.)
However, without that kind of deeper reflection, the story of the Karamazov family become little more than watching a family spat in a neighbor’s yard. It may draw our attention, but does it really have anything to do with our own reality? We are left pondering the question about love that I note at the beginning. Where does love come from? This family has certainly never found that answer.
The Karamazovs is available on VOD.
Photos courtesy of Gravitas Ventures
