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Sass Perilla (36 KP) rated The Master and Margarita in Books
Aug 9, 2019
Worth a read? Yes. Worth a reread? Maybe not.
Contains spoilers, click to show
The Master and Magarita: Mikhail Bulgakov
Firstly, I didn’t intend to write an essay on this novel. However, once started I found I had a lot to say, and the more I thought about the plot and characters, the more ideas and parallels were sparked, so I am hopeful that the verbosity of this review can be forgiven.
At the risk of sounding both ignorant and uncultured, I found this novel (at least at first) bloody hard slog; not least because the Russian characters have three names, plus a nickname, plus a pun on their name (none of which work particularly well in translation and all of which sound rather similar to the English untrained ear). As an example- Ivan Nikolaevich Ponyrev (who seems to be referred to by any and all of these names) is also known as “Homeless” and “the poet” is a key character in the opening section of the novel. To further demonstrate: there are 17 different names that start with A that are used to refer to 15 different characters with Andreyevich used as the middle name of a bereaved uncle, who makes a journey from Kiev after his nephew is beheaded in a freak tram accident- and Andrey the buffet manager at a Moscow theatre. Clear as mud right? And that is before starting on similarly named characters with the initials M, P, L and S! At my last count there were 45 distinct characters, and I am fairly sure there will be some that I have missed. Hence, I did a lot of re-reading to work out exactly who was doing what to whom.
Additionally, I would suggest you need to be wary of the different translations. The distinct changes in meaning are subtle but important. To triangulate I had three versions at my disposal: Hugh Aplin’s translation (available for free on Kindle), the audiobook version translated by Richard Pevear and Larissa Volokhonsky (which I listened to simultaneously when reading the book to come to my own interpretation, and the subtitles for the Russian TV miniseries from 2005 when I gave up trying to work out who was who from name alone!
So those were my “technical” issues (if you like) with engaging with this novel, and this lack of clarity and understanding (and my own lack of contextual knowledge of Stalinist Russia) meant I missed many of the (what I am sure are hysterically funny to those in the know) satirical jokes in the opening section. That said, the random action and quick changes of focus, undercurrent of chaos in Moscow despite entrenched hierarchal structures and clear threat that (any) one could go missing at any time, for an unclear reason gave a clear insight into the mind and fears of a 1930s Russian citizen. No wonder it was available only in censored form for so long.
Despite these hardships, there were some genuinely laugh out loud moments in the first Moscow based part of the novel. The citizens have not lost their individuality, as they scrabble and fight for bank notes in the theatre, which are later revealed to be worthless. Nor have they lost their sense of pride and vanity, which we see in the female theatre goers, so desperate to attain the fashionable French couture (which later literally disappears from their bodies leaving semi-naked citizenesses desperately trying to cover themselves in a scene reminiscent of “Allo Allo” meets “Benny Hill”). When Professor Woland says his show will “expose” what the locals have failed to realise is that it is their (moral) shortcomings that are about to be revealed. The message is clearly, that no government can successfully legislate against human nature.
Oooh- and another fun fact, apparently Woland (later revealed- or perhaps is implied- to be Satan) was the inspiration to the Rolling Stones 1968 hit “Sympathy for the Devil”, well at least that is what my Google-Fu tells me.
Obviously, there were substantial hurdles to leap, however, I found by the second half of the novel, when we finally meet the eponymous characters, I had got in to the swing of things and begun to embrace the farcical surrealism of the novel.
The second “book” marks a change in tone, although it continues to cut away to scenes of Jesus’ sentencing by Pilate and execution (here known in the Aramaic form Yeshua). Ironically it is these scenes that are the most “real” and substantially human, as Pilate’s decision weighs head achingly heavily on him throughout. The Master and Margarita seem to be the only two characters fully invested in the authenticity of literature, and serve as a counterpoint to the heavily censored “monstrous” writing of Ivan and the rest of the writers’ union Massolit, more interested in fine dining and what their positions can do for them then the production of quality writing.
And it is Margarita’s journey of discovery and liberation from the stodgy, miserable societal expectations of that leads her back to her Master. Bulgakov mixes classical myth, Russian folklore and Bible stories to give us an impression of the timelessness of the central romance. As the worlds of communist Moscow and the inner worlds of the Master and Margarita collide, we are informed of the former’s desire to excuse all magic (and mischief) as the product of mass hypnosis, when the latter (and the reader) are fully aware of the spiritual significance and dimension of the events.
Clever, astute and in places laugh out loud funny, this novel none-the-less requires a level of dedication from the non-Russian speaking reader. Worth a read? Yes. Worth a re-read? Maybe not.
Firstly, I didn’t intend to write an essay on this novel. However, once started I found I had a lot to say, and the more I thought about the plot and characters, the more ideas and parallels were sparked, so I am hopeful that the verbosity of this review can be forgiven.
At the risk of sounding both ignorant and uncultured, I found this novel (at least at first) bloody hard slog; not least because the Russian characters have three names, plus a nickname, plus a pun on their name (none of which work particularly well in translation and all of which sound rather similar to the English untrained ear). As an example- Ivan Nikolaevich Ponyrev (who seems to be referred to by any and all of these names) is also known as “Homeless” and “the poet” is a key character in the opening section of the novel. To further demonstrate: there are 17 different names that start with A that are used to refer to 15 different characters with Andreyevich used as the middle name of a bereaved uncle, who makes a journey from Kiev after his nephew is beheaded in a freak tram accident- and Andrey the buffet manager at a Moscow theatre. Clear as mud right? And that is before starting on similarly named characters with the initials M, P, L and S! At my last count there were 45 distinct characters, and I am fairly sure there will be some that I have missed. Hence, I did a lot of re-reading to work out exactly who was doing what to whom.
Additionally, I would suggest you need to be wary of the different translations. The distinct changes in meaning are subtle but important. To triangulate I had three versions at my disposal: Hugh Aplin’s translation (available for free on Kindle), the audiobook version translated by Richard Pevear and Larissa Volokhonsky (which I listened to simultaneously when reading the book to come to my own interpretation, and the subtitles for the Russian TV miniseries from 2005 when I gave up trying to work out who was who from name alone!
So those were my “technical” issues (if you like) with engaging with this novel, and this lack of clarity and understanding (and my own lack of contextual knowledge of Stalinist Russia) meant I missed many of the (what I am sure are hysterically funny to those in the know) satirical jokes in the opening section. That said, the random action and quick changes of focus, undercurrent of chaos in Moscow despite entrenched hierarchal structures and clear threat that (any) one could go missing at any time, for an unclear reason gave a clear insight into the mind and fears of a 1930s Russian citizen. No wonder it was available only in censored form for so long.
Despite these hardships, there were some genuinely laugh out loud moments in the first Moscow based part of the novel. The citizens have not lost their individuality, as they scrabble and fight for bank notes in the theatre, which are later revealed to be worthless. Nor have they lost their sense of pride and vanity, which we see in the female theatre goers, so desperate to attain the fashionable French couture (which later literally disappears from their bodies leaving semi-naked citizenesses desperately trying to cover themselves in a scene reminiscent of “Allo Allo” meets “Benny Hill”). When Professor Woland says his show will “expose” what the locals have failed to realise is that it is their (moral) shortcomings that are about to be revealed. The message is clearly, that no government can successfully legislate against human nature.
Oooh- and another fun fact, apparently Woland (later revealed- or perhaps is implied- to be Satan) was the inspiration to the Rolling Stones 1968 hit “Sympathy for the Devil”, well at least that is what my Google-Fu tells me.
Obviously, there were substantial hurdles to leap, however, I found by the second half of the novel, when we finally meet the eponymous characters, I had got in to the swing of things and begun to embrace the farcical surrealism of the novel.
The second “book” marks a change in tone, although it continues to cut away to scenes of Jesus’ sentencing by Pilate and execution (here known in the Aramaic form Yeshua). Ironically it is these scenes that are the most “real” and substantially human, as Pilate’s decision weighs head achingly heavily on him throughout. The Master and Margarita seem to be the only two characters fully invested in the authenticity of literature, and serve as a counterpoint to the heavily censored “monstrous” writing of Ivan and the rest of the writers’ union Massolit, more interested in fine dining and what their positions can do for them then the production of quality writing.
And it is Margarita’s journey of discovery and liberation from the stodgy, miserable societal expectations of that leads her back to her Master. Bulgakov mixes classical myth, Russian folklore and Bible stories to give us an impression of the timelessness of the central romance. As the worlds of communist Moscow and the inner worlds of the Master and Margarita collide, we are informed of the former’s desire to excuse all magic (and mischief) as the product of mass hypnosis, when the latter (and the reader) are fully aware of the spiritual significance and dimension of the events.
Clever, astute and in places laugh out loud funny, this novel none-the-less requires a level of dedication from the non-Russian speaking reader. Worth a read? Yes. Worth a re-read? Maybe not.
Dean (6927 KP) rated Lost Girls and Love Hotels (2020) in Movies
Aug 22, 2021
Lost its way
Not heard of this before it popped up on Sky cinema based on a successful novel of the same title. A different direction for Alexandra Daddario who seems to have churned out lots of low budget Rom Coms most recently.
This is an odd bleak character study which feels a bit like Lost in Translation crossed with 9 1/2 weeks but falling way short of either of them. Her character is a bit of drifter in Tokyo, always drunk and meeting random men for meaningless sex in the love hotels. Until she meets by chance a Yakuza gangster who she begins an affair with.
There was a lot more potential in this, it tries to be quite art house but most of the film is filled with shots of her drunk in a bar with friends, staggering around Tokyo at night or with random men. The Yakuza angle is barely explored with Kazu and they spend very little time together as well. Apparently a good 45mins has been cut and the film has been on the shelf a while after being filmed late 2017.
The end result is a brief character study of someone at rock bottom of life. Unfortunately it's quite dull for the most part, not erotic either. It's a shame as it could have been a lot better with a few plot angles explored more.
This is an odd bleak character study which feels a bit like Lost in Translation crossed with 9 1/2 weeks but falling way short of either of them. Her character is a bit of drifter in Tokyo, always drunk and meeting random men for meaningless sex in the love hotels. Until she meets by chance a Yakuza gangster who she begins an affair with.
There was a lot more potential in this, it tries to be quite art house but most of the film is filled with shots of her drunk in a bar with friends, staggering around Tokyo at night or with random men. The Yakuza angle is barely explored with Kazu and they spend very little time together as well. Apparently a good 45mins has been cut and the film has been on the shelf a while after being filmed late 2017.
The end result is a brief character study of someone at rock bottom of life. Unfortunately it's quite dull for the most part, not erotic either. It's a shame as it could have been a lot better with a few plot angles explored more.
Merissa (12339 KP) rated Landscape of a Marriage in Books
Aug 2, 2021 (Updated Jul 17, 2023)
LANDSCAPE OF A MARRIAGE is a historical fiction story based on true events and people. In fact, the author is distantly related to one of the main characters by marriage.
Instead of focusing on the man himself, we follow his wife, Mary, and see their life through her eyes. They had good times and, undeniably, bad times too. Mary fell in love with her husband of convenience, and he, with her. That led them to a life of adventure and hardship, love and loss.
This was a great read, full of freeze-frame moments, stuck in time. The emotions come across clearly and help move this character-driven story forward. Some of the real-life events were glossed over slightly and I would have liked to have known more, but then, was Mary involved in them anyway?
I will admit to getting lost in the times given. I relied on Mary to tell me that Marion had grown, or that John was now forty-one, as there was no way I would remember from just seeing dates at the beginning of each chapter.
This was a historical fiction novel that I enjoyed and have no hesitation in recommending.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Aug 2, 2021
Instead of focusing on the man himself, we follow his wife, Mary, and see their life through her eyes. They had good times and, undeniably, bad times too. Mary fell in love with her husband of convenience, and he, with her. That led them to a life of adventure and hardship, love and loss.
This was a great read, full of freeze-frame moments, stuck in time. The emotions come across clearly and help move this character-driven story forward. Some of the real-life events were glossed over slightly and I would have liked to have known more, but then, was Mary involved in them anyway?
I will admit to getting lost in the times given. I relied on Mary to tell me that Marion had grown, or that John was now forty-one, as there was no way I would remember from just seeing dates at the beginning of each chapter.
This was a historical fiction novel that I enjoyed and have no hesitation in recommending.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Aug 2, 2021
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BankofMarquis (1832 KP) rated Dune (2021) in Movies
Oct 24, 2021
The Definitive Film Version for the Fans
Fans of the 1965 Frank Herbert Sci-Fi Fantasy Masterpiece DUNE can finally rejoice - the definitive film version of this novel (at least the first 1/2 of the novel) has made it’s way onto the screen.
Lush, dense, rich, well cast and acted with eye-popping visuals that should be seen on the big screen, Directer Denis Villaneuve’s DUNE is everything that a fan of the book (that would include me) has been waiting for in a film version. It IS the “Peter Jackson LORD OF THE RINGS” version of this book - finally!
The question is, how does this film work for casual fans of the book - or for the myriad moviegoers that have never read the novel it is based on.
And, I’m afraid, the answer there is “not as well”. For Dune is a dense novel, filled with mythology that does go somewhat deep in the movie. This makes the pacing of this film problematic - especially at the beginning, for the novice - but is “deep enough” for those that have read the books.
Let’s start with what works - and that is the visuals that Director Denis Villeneuve (Blade Runner 2049) and his crew put on the screen. They are incredible. Unfortunately, most casual on-lookers to this film will decide to check out this 2 hour and 35 minute epic at home for free on HBO MAX, and that would be too bad. This film needs to be seen on the biggest screen possible to totally immerse you in this world.
Villeneuve perfectly cast this film from top to bottom starting with Timothy Chalamet as the hero of this book (and series) Paul Atreides. He brings the right balance of cockiness and unease to Paul who grows into something more than the “perfect prince” as the story progresses.
He is joined by some of the finest performers working today. Rebecca Ferguson and Josh Brolin bring their star power to the roles of Paul’s Mother (who is something more than Paul’s mother) and the head of the military (who is something more than the head of the military). Both of these roles needed to be played by a strong force - and both fill this need admirably.
The always good Oscar Isaac is the right choice for the role of Paul’s father, Duke Leto Atreides, who - by story necessity - is underwritten and, therefore, this film/role does not showcase his talents.
However, Jason Mamoa SHINES as Warrior Duncan Idaho. This is one of my favorite characters from the book and Mamoa brings his “A” game to this charismatic warrior/mentor to Paul. It was the largest pleasant surprise of the performances for me.
Alas, the villains of this piece - Baron Vladimir Harkonnen (Stellan Skarsgard) and his nephew, Beast Rabban Harkonnen (Dave Bautista) are relegated to background “mustache twirling” villains, they were not able to showcase their talents in this film. But, at least, we did not get the “golden speedo” that Sting wore in the 1984 David Lynch film version.
Also, not being able to showcase their talents is Javier Bardem and Zendaya as members of the Freman (the subjugated native people of the “Dune” planet). They are both in this film, briefly, as their characters rise and shine in the 2nd half of the book - so, hopefully, we’ll get to see more of them, then.
Which is the other part of this film that will turn off the casual viewer - it only covers (by necessity) the first half of the book, so only tells half a story with no real emotional payoff. For me, a fan of the books, I was fine with this as I am eagerly anticipating the 2nd film - but as a viewer who is just gonna “check this one out”, I’m not so sure that the visuals of this film will be enough to satisfy them.
Come for the visuals, stay for the performances and the dense story and prepare for Dune: Part 2.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Lush, dense, rich, well cast and acted with eye-popping visuals that should be seen on the big screen, Directer Denis Villaneuve’s DUNE is everything that a fan of the book (that would include me) has been waiting for in a film version. It IS the “Peter Jackson LORD OF THE RINGS” version of this book - finally!
The question is, how does this film work for casual fans of the book - or for the myriad moviegoers that have never read the novel it is based on.
And, I’m afraid, the answer there is “not as well”. For Dune is a dense novel, filled with mythology that does go somewhat deep in the movie. This makes the pacing of this film problematic - especially at the beginning, for the novice - but is “deep enough” for those that have read the books.
Let’s start with what works - and that is the visuals that Director Denis Villeneuve (Blade Runner 2049) and his crew put on the screen. They are incredible. Unfortunately, most casual on-lookers to this film will decide to check out this 2 hour and 35 minute epic at home for free on HBO MAX, and that would be too bad. This film needs to be seen on the biggest screen possible to totally immerse you in this world.
Villeneuve perfectly cast this film from top to bottom starting with Timothy Chalamet as the hero of this book (and series) Paul Atreides. He brings the right balance of cockiness and unease to Paul who grows into something more than the “perfect prince” as the story progresses.
He is joined by some of the finest performers working today. Rebecca Ferguson and Josh Brolin bring their star power to the roles of Paul’s Mother (who is something more than Paul’s mother) and the head of the military (who is something more than the head of the military). Both of these roles needed to be played by a strong force - and both fill this need admirably.
The always good Oscar Isaac is the right choice for the role of Paul’s father, Duke Leto Atreides, who - by story necessity - is underwritten and, therefore, this film/role does not showcase his talents.
However, Jason Mamoa SHINES as Warrior Duncan Idaho. This is one of my favorite characters from the book and Mamoa brings his “A” game to this charismatic warrior/mentor to Paul. It was the largest pleasant surprise of the performances for me.
Alas, the villains of this piece - Baron Vladimir Harkonnen (Stellan Skarsgard) and his nephew, Beast Rabban Harkonnen (Dave Bautista) are relegated to background “mustache twirling” villains, they were not able to showcase their talents in this film. But, at least, we did not get the “golden speedo” that Sting wore in the 1984 David Lynch film version.
Also, not being able to showcase their talents is Javier Bardem and Zendaya as members of the Freman (the subjugated native people of the “Dune” planet). They are both in this film, briefly, as their characters rise and shine in the 2nd half of the book - so, hopefully, we’ll get to see more of them, then.
Which is the other part of this film that will turn off the casual viewer - it only covers (by necessity) the first half of the book, so only tells half a story with no real emotional payoff. For me, a fan of the books, I was fine with this as I am eagerly anticipating the 2nd film - but as a viewer who is just gonna “check this one out”, I’m not so sure that the visuals of this film will be enough to satisfy them.
Come for the visuals, stay for the performances and the dense story and prepare for Dune: Part 2.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
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