Taras Bulba 1962 123movies

Watch: Taras Bulba 1962 123movies, Full Movie Online – A “Romeo and Juliet” story that takes place in the late 16 c. Ukraine. Taras has settled into comfortable farm life after years of adventures and swashbuckling with his cossack companions. Though not wealthy, he is able to send his son Andrii away to a Polish school. At this time the Poles are overlords of Ukraine and the origin of the cossacks is struggle of the Ukrainian serfs to free themselves and their land of Polish domination. Toward this end Taras hopes that his son will be educated in the ways of the enemy. Instead, Andrii falls in love with the daughter of a Polish nobleman, setting the stage for a clash between love, family honor, and a struggle for national identity..
Plot: Ukraine, 16th century. While the Poles dominate the Cossack steppes, Andrei, son of Taras Bulba, a Cossack leader, must choose between his love for his family and his folk and his passion for a Polish woman.
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Ratings:

	6.3/10 Votes: 4,133
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	N/A | MetaCritic
	N/A Votes: 56 Popularity: 6.541 | TMDB

Reviews:

_**Cossacks vs. Poles on the steppes of Ukraine (actually Argentina)**_

In the 16th century, Cossacks on the Ukrainian steppe defy their subjugators, the Poles. Yul Brynner plays a hearty colonel while Tony Curtis plays his eldest son, who foolishly falls for a lovely princess in Kiev (Christine Kaufmann).

“Taras Bulba” (1962) is based on the first half of the classic novella by Nikolai Gogol, published in 1835. At heart, it’s a sword & sandal flick that meshes “The Vikings” (1958) with Brynner’s “Solomon and Sheba” (1959). There are curious stabs at frivolity and amusement that are absent by the second half. The singing & dancing of the mirthful Cossacks seems a little too choreographed, eliciting a sense of unreality to the proceedings, but it’s such a small part of the movie it can be overlooked.

One exhilarating sequence takes place around the 70-minute mark with the various tribes of Cossacks gathering together while galloping the steppe to fight at Dubno. There’s no CGI, it’s literally hundreds or thousands of men on horseback.

The movie bombed at the box office. Although it’s not great like “The Vikings,” it’s almost on par with “Solomon and Sheba.” It needed more depth, like milking Andrei’s relationship with Natalia. Still, it’s entertaining enough to check out.

Curtis was 36 during shooting while Christine was 16. He didn’t waste much time dropping his wife of eleven years, Janet Leigh, to marry Christine as soon as she turned 18 in 1963. The marriage lasted five years and Tony has lamented letting her go.

The film runs 2 hours, 3 minutes, and was shot in northern Argentina (with the unit based in Salta), as well as Walt Disney’s Golden Oak Ranch in Newhall, California (the outside love scene), and Universal Studios (the city of Kiev & Polish academy).

GRADE: B-

Faith and a good Sabre arm.

Taras Bulba is directed by J. Lee Thompson and adapted to the screen by Waldo Salt and Karl Tunberg from a story by Nikolai Gogol. It stars Yul Brynner, Tony Curtis, Christine Kaufmann and Perry Lopez. Out of United Artists, it’s a DeLuxe/Eastman Color/Panavision production, with the music scored by Franz Waxman and cinematography by Joseph MacDonald.

Loosely based on Gogol’s short novel, story tells of a Cossack uprising against the Polish forces who have taken control of the Ukraine. At the centre of the Cossack army is the leader Taras (Brynner) and his two sons, Andrei (Curtis) and Ostap (Lopez). But when Andrei falls in love with a Polish princess called Natalia (Kaufmann), it sets the wheels in motion for the Bulba family to crack from within; just as the Polish come calling asking for the Cossacks help to defeat the Turkish.

While not as epic as the film, the troubled back story of the production is big enough to lend one to understand why Taras Bulba is not the grandiose picture the story deserves. Main problem comes with casting, particularly that of Curtis as the elder Bulba son. It should have been Burt Lancaster, who walked, so in came Curtis and a decision was made to put him front and centre of the picture. Thus rendering Brynner’s title character to playing second fiddle, so much so they really should have called the film Andrei Bulba instead. On his day Curtis could act, but he’s out of place here playing a Cossack with brain and brawn. Then there was the small matter of Curtis’ marriage to Janet Leigh falling apart, with Leigh visiting the set, falling ill and no doubt noticing the sparks flying between Curtis and his delectable co-star, Kaufmann. Curtis would say it wasn’t the final straw, but with him going on to marry Kaufman shortly after his divorce, it’s hard not to think that it sealed the deal!

He’s not helped by the writers, though, who allow the love story sub-plot between Andrei and Natalia to form the core of the plot. They too, Messrs Salt & Tunberg, were brought in after historical novelist Howard Fast (Spartacus) refused to tone down the screenplay. He wanted to include what was an important part of the Cossack/Pole war, that of the Cossacks anti-Semitic attack on Polish Jews. The makers balked and Salt & Tunberg came in and delivered the Andrei overkill and some rather cheese laden dialogue. Brynner was crushed, his biography (written by his son Rock) reveals that it was a role and film he cared for more than any other, he had grand plans for the portrayal but the makers didn’t share his view. A shame because what we do get of Brynner is wonderfully exuberant, muscular and (correctly) scene stealing.

However, when Taras Bulba as a film is good, it’s real good, and thankfully it’s never dull, even if it’s a bit more jovial in the mid section than it is meant to be. Thompson was a fine director of action and suspense, and he gets to flex his muscles here to great effect. Casting aside the cheap shots of dummies and wooden horses being hurled about a couple of times, the sight of thousands of men on horseback swarming across the Steppes (actual location used was Argentina) is spectacular. The battles are fierce, violent and gripping, while the scenes in the Cossacks camps are joyous as men drink, sing, test their manhood by doing things like dangling over a bear pit, it’s all very robust and Vikingesque, but entertainingly so. There’s even some dashing sword play, while quality suspense is eked out during a challenge to the death over a seemingly bottomless gorge.

Joseph MacDonald’s Panavision photography neatly brings the wide vistas to life, aided by the use of Eastman Color which gives off a nice period hue. Waxman delivers a blunderbuss score that’s seasoned with Russian vitality, while the costume department deserves a mention for their efforts, particularly for the Polish army who look dandy men of steel. Yes it’s a film of flaws and bad decisions, but the good does outweigh the bad in this instance, and how nice it is to have the chance to see a little known part of “bloody” history up there on the screen. 7/10

Amazing such a subject made by Hollywood!
That this classic novel by Gogol about the legendary Ukrainian cossack hero could have been made into a big-budget Hollywood blockbuster, and that this was done at the very height of the cold war seems unbelievable today.

While the film is dated a bit by the kitschy love story involving Tony Curtis’ character, Yul Brynner is perfect in his role which seems one of those he was born to play.

A colourful and spectacular historical epic in the best of the then-dying old Hollywood tradition, this is probably the only exposure that the American public at large has to Ukrainian history, and in this alone it is a valuable work. But the film manages to succeed on the entertainment level as well, and I recommend it to all fans of the good ol’ Hollywood studio historical drama.

Flawed, But Profound Spectacle
How does one choose between the life of a person you love and your father, your family, your nation? The moral dilemma presented in “Taras Bulba” would be a tough sell in any era, but particularly in “last year of the 50s” (“American Graffitti”). Producer Ben Hecht, screenwriter and director J. Lee Thompson pull no punches. However, one can only wonder how great a film “Taras Bulba” would have been if directed by, say, David Lean and the love story expanded. As it stands, the movie is wildly uneven. The Kiev sequences tend to bog down the movie; while, at the same time the romantic scenes play too quickly for dramatic impact. Curtis’ well publicized adulterous affair with actress Christine Kaufman certainly didn’t help box office; and, it seems the screen careers of both Curtis and Yul Brynner were permanently damaged, as both went into decline after “Taras Bulba”. Sad and ironical, since Curtis recently revealed he was legally separated from wife Janet Leigh for over a year before embarking on “Taras Bulba” (and his liaison with Kaufman); and, in any event, adulterous marriage breakups certainly didn’t hurt Liz Taylor. It’s all a pity, because “Taras Bulba” is an exciting, profound movie, the kind we are most used to seeing recently from China (“Hero,” “House of Flying Daggers,” “Crouching Tiger, Hidden Dragon”).

Director J. Lee Thompson (“The Guns of Navarone”) makes excellent use of the widescreen process, filling the entire frame with action. I say this, seeing only the full screen version, since it is clear from what remains there was plenty to fill the screen, while key action was wisely staged center screen.

Curtis is effective in the difficult role of Andre, Taras Bulba’s son. However, Yul Brynner is phenomenal as Taras Bulba. Too bad he’s not on screen more. Christine Kaufman is decorative, but her scenes with Curtis are too meager to be truly effective.

One hopes a widescreen DVD soon becomes available; or, at least, Turner or ENCORE ACTION shows the movie in letterbox. The version I previewed on FLIX showed some signs of damage. Flawed or not, “Taras Bulba” is well worth an “8” on my scale of 10.

Other Information:

Original Language en
Runtime 2 hr 2 min (122 min), 2 hr 4 min (124 min) (TCM print)
Budget 7000000
Revenue 4000000
Status Released
Rated Approved
Genre Adventure, Drama, History
Director J. Lee Thompson
Writer Waldo Salt, Karl Tunberg, Nikolay Gogol
Actors Tony Curtis, Yul Brynner, Christine Kaufmann
Country Yugoslavia, United States
Awards Nominated for 1 Oscar. 3 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix 70 mm 6-Track (70 mm prints), Mono (35 mm prints)
Aspect Ratio 2.39 : 1, 2.20 : 1 (70 mm prints)
Camera Panavision Lenses
Laboratory DeLuxe, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm (Eastman 50T 5250)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 70 mm (blow-up), 35 mm