User reviews

These days it's tempting to refuse anything Russian, but in this case one has to note that 1) this is adapted from the most celebrated work of Russian fiction in the 20th century, written by a Kiev-born dramatist shortly before his death and forbidden from publication in the Soviet Union until the 1960s, and 2) this was largely financed by an Odessa-born American billionaire who owns the sports network DAZN. Also, principal photography was finished in late 2021, before the invasion of Ukraine.

The phantasmagorical plot makes for an extraordinary reading experience because one cannot summarize it. Like all truly great literature, this is not really a story about something, it's a series of bizarre anecdotes set in the framework of forsaken romance in the claustrophobic Stalinist Moscow of the 1930s, where the Devil appears on the pages of a writer in crisis, and then seemingly in reality. German actor August Diehl's performance as Woland is the best of his career and he gives the character a perfect ambivalence which is required in portraying the supernatural. It is quite possible to read into his Satan an allegory of Putin himself, and it is also quite possible to deny it. The hysterical satire of the novel requires high production values which previous adaptations never achieved - this film almost overdoes it, as do many Russian actors. But the leading couple is quite convincing, even if they pale within the impressive imagery.

Upon release in Russia, the film was attacked by the Pro-Putin crowd which helped to turn this into the most successful Russian film of the century. It's a miracle it was even released since US-born director Lockshin finished post-production in the States and did not return to Russia after the invasion, which he has frequently condemned. So credit where credit is due, this film is a beacon of creative light in Russia's political darkness.

The latest cinematic rendition of Mikhail Bulgakov's "Master and Margarita" is a compelling and artistically rich adaptation that both honors and reinterprets the classic novel. Differing from the beloved 2005 series starring Oleg Basilashvili, this new version presents a fresh perspective on the timeless story, offering a unique visual and narrative experience.

At its core, the film remains faithful to Bulgakov's narrative, weaving the parallel tales of the Master, a writer persecuted for his work, Margarita, his devoted lover, and the fantastical events surrounding the devil's visit to Moscow. However, the director's approach infuses the story with a distinct contemporary flair, setting it apart from previous adaptations.

Visually, the film is a feast for the eyes, combining stunning cinematography with imaginative special effects that bring the mystical elements of the story to life. The portrayal of Woland's entourage is particularly noteworthy, capturing their eerie and whimsical nature.

The performances are exceptional, with each actor bringing depth and nuance to their characters. The chemistry between the Master and Margarita is palpable, adding an emotional weight to their tragic romance.

The film's pacing and tone do justice to Bulgakov's complex narrative, balancing the dark, satirical elements with moments of profound emotion. The modern touch to the story's presentation may divide traditionalists but is sure to captivate a new generation of viewers.

In conclusion, this new adaptation of "Master and Margarita" is a daring and visually stunning film that breathes new life into Bulgakov's masterpiece. It is a must-watch for fans of the novel and for those seeking a thought-provoking and beautifully crafted cinematic experience.

The Master and Margarita (2023) is simply the best film I've seen released in years, visually stunning, the iconic novel is adapted in the most thought-provoking perspective & grabs your imagination instantly. What I loved the most is that, IS NOT about the political prosecution of the author/protagonist; but about how the love of Margarita totally frees him, more than his muse -he writes for her, aware that the manuscript will probably end up in the fire- is the force that binds the book and his world together. Reality and fantasy are beautifully intertwined, and the writer can't tell what goes on in his mind from the outside world. All actors (incl. The cat Behemoth) are fantastic; particularly Yulia Snigir as Margarita, it is simply impossible not to fall in love with her from the moment she appears on the screen. The Devil / Voland here is also playful & more than perverse brings much needed humour, like a fellow who enjoys taking the piss ruthlessly at any price. So people keep comparing it to the series of 2005, well, i do not compare all love stories to Casablanca or Gone With the Wind, each period has different takes and creative freedom, I like this film more even than the book, which, let's face it, was an unfinished draft assembled by Bulgakov's widow, so let's stop slagging masterly done stuff when the original story wasn't even finished. Do not miss, real cinema lovers!!!!

This film is a cinematic adaptation of famous and brilliant Russian book that was written in 1928-1940 amongst darkest years of Big Terror and banned for many years. Mikhail Bulgakov well knew that his novel won't be ever published but kept writing.and rewriting it as something very personal. The book was never finished but his wife brought his drafts together after he died and they gradually found it's way into emerging Samizdat with people printing copies on typewritters and sharing them. My literature teacher used to tell us story how she read this book overnight since she had to pass copy to the next reader (btw she didn't like it :) but admitted it was a great work nevertheless). Eventually knowing that book became a sign of a well educated and free minded person in USSR and part of a cult following with

But let's get back to the movie. Bulgakov's book was adapted into several films and film series but proved to be exceptionally difficult to maintain book spirit, pretty much like we don't have good adaptations for excellent books of Terry Pratchett. However this film is the very best adaptation that I saw. Unlike some other adaptations it does not try to literally follow the book, but it wonderfully captures it's very essence.

The plot revolves around a writer in Soviet Union who finds himself at odds with new government and left without means to survive amongst rapidly unfolding political terror. Nevertheless he meets a married woman who inspires him to start writing a new book while knowing that it won't be published and might actually.get him jailed. A tragic love story unfolds and helps both to keep going and fighting in a seemingly hopeless environment. The writer starts to add persons from his own life as characters in his book and mystically the story that he wrote starts to influence the actual world where he lives. As an author he can write a happy ending for lovers in his story, but will it become real as well? And are all those mystic events happening around even real at all or just merely his own imagination?

As you might have guessed by now this story is mirroring personal story of Bulgakov life and I was very impressed how well film captured this intertwining between Bulgakov and the book he wrote. It also brilliantly reproduced his harsh satire on Soviet society where words and actions were totally different and it feels very actual for modern day Russia that rapidly follows same steps. It faithfully reproduces most of the key story moments from original book. And God, it's absolutely beautiful visually. Cast is truly excellent too with plenty of memorable characters and while nominally it is pretty long it certainly doesn't feel.so when you watch it.

There are several reasons to dislike this film. The book was significantly shortened - it simply too large to fit everything. Original book had strong and memorable Biblical elements but they were almost removed. Satiric elements are exaggerated visually while original book had them wonderfully written on top of normal, easily recognizable everyday life. I think it was the right decision because an exaggerated fantastic Soviet city is a good showcase of Soviet propaganda of 193x that was all too well known to Bulgakov and his early readers but is largely forgotten now, however I understand why some might disagree with such modification. Finally film tends to often paint it's story with a broad strokes and subtle hints relying on watcher to fill in details and omitted parts. This works wonderfully for people familiar with horrible Russian history of 1930s as well as original book, but it could be confusing for people who never read the book and unfamiliar with that part of Russian history.

Despite all these issues, I think it's a real masterpiece. Book adaptations are always difficult and this is a rare example of very successful adaptation of a complex and allegorical book. Must see for those who.read and loved Master and Margarita or want to better understand Russians and their history. Aside from that it's a good and visually beautiful film.

For me, as a lifelong devotee of this seminal and unique work of world literature, this was quite painful to watch. I could accept the somewhat courageous interpretation of the story, if it wasn't so brashly ambitious yet inconsistent in execution. A few brilliant moments are dulled down by lacklustre characters and frenzied, but unimaginative scriptwriting, which feels more and more tired and botched-up with each frame at the end. Some of the rearrangements and alterations in the plot seem unjustified if not utterly baffling. The over-the-top, grandiose, phantasmagoric setting and kitschy design is obviously intended as some sort of social critique of the Russian history and maybe current state of affairs, but frankly this obviousness teeters on the verge of banality and dilettantism. Meanwhile the most colourful and personable characters at the heart of the story are inexplicably flattened out to mere caricatures without any voice or flavour, and some are omitted entirely. Sadly, it stomps out much of the charm, ingenuity and delectable complexity of the Bulgakov's original work which, to be fair, has been notoriously resistant at numerous attempts to be put on the big screen or stage.

Overall, this is another disappointing try, perhaps only remarkable for the audacity to be made in this day and age. Yet, all the pomp and fizz of the production does not repay the subtlety that was lost in the process. If you've read the book, you won't loose out never watching this. If you have not, this can ruin the experience if you finally decide to read it.

The book. The film. The book. The film. A continuous confrontation with no winners. In my book (pun intended), with The Master and Margarita by Bulgakov you can't do the film without the book. And this is my major premise in this review. Had I not reacquainted myself with the book prior to the film, I wouldn't have gained either the gist of the latter or the dark satirical wisdom of the novel yet again. Instead, I had done my homework: immersed myself in the book, watched professors of literature on Bulgakov's hidden motives, vicariously walked along Moscow streets with the help of a youtube tour.

One of the crucial things I quarried on this expedition is that Bulgakov spent 12 years writing the masterpiece (between 1928 and 1940). No wonder, this resulted in incredible density of the text: 2-dimension narrative, vividly drawn characters, spellbinding dialogues and descriptions. Every plotline comes packed with loads of profound subtexts. And again, I could only appreciate all this only after my versatile reasearch. Let's take Frida's appearance for example. Seemingly passing, this character alludes to the idea of MERCY and the way Margarita gracefully personifies MERCY. She raises to the challenge of freeing Frida from eternal punishment. This clemency is mirrored by Pilat's reluctance from eternal punishment to extend MERCY to Yeshua (Jesus of Nazareth) in Jerusalem setting of the novel.

Methinks, MERCY is the crux of the novel. Methinks, it never shone through in the film though. Having embraced all the landmark events, the director chose to rearrange them in another order under the over-arching story of Master and Margarita's romance. I have to say it for the director, the reshuffled episodes are given in a surprisingly cohesive order. And yet, you can't have it all. If you focus on the love line, you cannot thoroughly cover Professor Woland (the devil) and his retinue's visit to Moscow. The way they challenge moscovites' religious convictions and condemn the behaviour of Massolit's corrupt social climbers and profiteers, Behemoth's whims and Koroviev's vagaries also have to go. Interestingly though, the creators took the risk of adding one more dimension - the author's life, which allegedly parallels Michhail Bulgakov's misfortunes and hardships against the backdrop of heavy criticism for his works and plays.

So, in the production the main character Master is somewhat expanded: not only does he personify the book character, but he also sheds some light on Bulgakov's love-hate relationship with the Soviet authorities. Both personalities were successfully performed by Eugeny Tsyganov. He was really convincing in his role of a distressed and desperate genius. His devoted lover Margarita by Julia Snigir left me cold. Guilty as charged, I couldn't help comparing this cinematic milk-and-water Margarita to that I envisaged when reading. My Margarita came across as a volatile and vibrant woman, let alone her witch's acquired personality. Having turned into a witch, Bulgakov's Margarita completely transformed, became restless, reckless even. Passion unleashed. None of this was played out by Julia. Unluckily, she could not hold her own with August Diehl - Woland (Devil in disguise). The latter, though, is a vital example of how successful directors' decisions can be cast wise. Orchestrating his character, August Diehl demonstrated an ample scope: from playful remarks to devilishly frightening preaches. Hats off!

Another movie character which made an indelible impression on me is Moscow. The city enveils each and every scene. The 3-dimension plot is set in utopian Moscow. Moscow which was in actual fact designed by Stalin's people. Moscow which never happened. These oppressive behemoth buildings hover over the humdrum of Moscow daily life, keep an eye on the citizens, remind them of the ruler. This formidable city could've been drawn with better graphics, but even so the mystique of the narrative rubbed off on me.

Needless to say, this multifarious creation has been getting a relentless onslaught of criticism. The critics' major contention is that this production is nothing more than just another slick "Hollywood-esque" knock off: the romance, the city, the blasts. Without wishing to encroach on culture-vultures' territory, I agree to disagree with this degrading look. Nor do I buy this "the film is based very loosely on the book" stance. Why should it be? We are looking at two different art forms here. Whereas literature is about setting off a reader's reflective judgments and imagining through language, cinematic art abounds in all sorts of technical and creative components: lighting, camera angles, sound design, editing, and acting. All these make a film a coherent and powerful visual tale. And from where I am standing, The Master and Margarita's cinematic adaptation panned out as powerful.

It's been two weeks since I finished reading and went to the cinema. The fact that I keep thinking about both the film and the book is quite telling. Seldom do I indulge in that profound research on cinematic forms. Apparently, both worked for me and triggered the whole gamut of emotions. In my mind palace these two are merging into each other, accomplishing each other. And this is a very complex and ingenious picture. I wouldn't have fathomed the film without a prior reading. Nor would my emotions would be that strong without the rendition. The manifold idea behind both of them makes plain "I liked", "I didn't like" review nigh on impossible. My recommendation is to do both and to make the cogs in your brain turn. Buckle down and enjoy the trip.

Incongruous storytelling. If you don't know the plot, most likely you won't understand the storyline. So read the book or watch the eponymous series of 2005 by Vladimir Bortko.

The entire movie I was comparing my experience from series of 2005 to this newbie comeout, and leaving all stars to the old one. Sorry, but you can't fit such enormous masterpiece into 2.5 hours movie. A lot of valuable information about characters missing, so you're not really immersed into the plot.

Another bummer is graphic backgrounds of Soviet Era like Atomic Heart game. I guess the whole idea of the Bulgakov novel was to show that the satan lives among us in our reality.

Its quite an impressive result - to squeeze such a book into single movie.

If previous series were dedicated a lot for Jesus (Ganozzi) and Pontius Pilat theme, here we see quite an extensive story of Master.

I really liked that Master is shown not as crazy obsessed by his novel psycho individual, but rather as a normal person who was just killed step by step with his own genius by new Soviet ideology and traitors/slaves of this new era propaganda

You can easily build a parallel with what is happening today in Russia.

I really liked the episode in the end when city is on fire with all the stars symbols on the roof and the most famous sentence and Pontius and how he hates the city which is swallowed by the darkness

That was the epic end!

The movie adaptation of the classic book is a rare gem that successfully captures the essence of the story, the tragic lives of the Master and Margarita. The film explores the absurdity of communism, the struggles a creative writer has to endure under a suppressive regime, and features a beautiful love story that adds to the movie's emotional depth. The execution of the film is excellent, with fantastic actors bringing the characters to life, including August Diehl as Woland, Yevgeny Tsyganov as the Master, and Yuliya Snigir as Margarita. In all, I loved the different themes interwoven in this lovely tragedy.

It is worth mentioning at once that I had not read the original book and took the movie as an independent work.

The plot is twisted and multi-layered. Initially, the Master himself, sitting in an asylum, tells his cellmate a story about how he wrote his novel. This story echoes the author's real life and his work, the events and characters of which gradually become real to the narrator.

I have no complaints on any of the points, everything is perfectly balanced and really works. I watched it without tearing myself away, I saw a clear criticism of the Soviet Union, through which one can draw parallels with the present time.

The cast is delightful too, Woland and the Master are my favorites. I am very pleasantly surprised and I hope that in time the cinematography of the Russian Federation will start to make most movies on a level with this one.

10/10.

It's a great film inspired by Bulgakov masterpiece. It's better than any "anti utopian" film.

1) great actors - the fact of such a mix of actors makes it a great play, truly enjoyable by sophisticated characters 2) interesting plot twist (it's not 100% adaptation of book) - makes an interesting viewpoint of the book and in fact I liked it a lot 3) no annoying music - these days most films have this annoying background music to add whatever emotions. Here no music is needed as you are totally into the play and story 4) great visuals - how they designed Moscow and USSR is great 5) absolute must to watch simply due to the fact we are living in a repeated history, what's happening in Russia is pretty much what the book is talking about 6) one of the best films I've watched so far, like fresh air after all identical American movies-blockbusters.

Great movie!

At times, quotes from the novel are spoken word for word, at times the director changes details, but clearly just to fit everything in - the runtime is already huge.

Voland and the Master are miscast, especially the Master. They confused a melancholic alcoholic with a gothic metrosexual. The cat remains undeveloped. How the actor who played Ivanushka ended up in this movie is a mystery.

But Gella, Margarita, Koroviev, Pilate, and Maigret are good choices.

Stravinsky is very good!

Stepa Likhodeev is brilliantly played, the best role (it's a pity it's not bigger).

All the most important quotes from the book are spoken, but there wasn't enough time for the funniest ones.

The director, praise Satan, didn't fill the movie with funny scenes, although there are plenty in the book, and instead focused on exactly what Bulgakov's novel is about: censorship under a dictator, which drives not only writers but also ordinary citizens insane.

The movie is done really well. It looks great, it's well edited, has great sound design and all the performances are flawless.

The timelines and realities are so convoluted that it would make Nolan scratch his head. However, the movie does a great job at keeping the story comprehensible and engaging.

I usually don't like long movies, but in this case the two and a half hours runtime is well justified and passed by quickly. There's no runtime padding and everything feels essential.

The only reason I subtracted one star is that the humor from the book didn't properly precipitate into this movie (but that's super subjective so take with a grain of salt). Otherwise it's a nearly perfect and innovative adaptation of a good book.