Anastasia

Whilst this is certainly a lavish and luxuriant production, somehow the sum of the parts just don't add up to much of an whole. Yul Brynner is the ambitious, former general-turned-restauranteur "Bounine" who has been, for many a year, convincing his financial backers that he has discovered the last surviving child of the assassinated Czar Nicholas II. He has discovered the sickly and troubled "Anna" (Ingrid Bergman) and hopes that with some grooming, training and furs she might be able to convince the Dowager Empress (Helen Hayes) that she is, indeed, her granddaughter. It also turns out that should she endorse the identity of the young woman, the enormous sum of £10 million will be released to her by the Bank of England. Bergman is strong as the initially vulnerable, amnesiac girl who has no real idea who she is, or where she comes from - and that performance contributes very plausibly as the story gathers momentum and her persona becomes much better established (real or not!). Hayes - aided by the scene stealing Martita Hunt's "Baroness von Livenbaum" - also plays her part well, an imperious woman who is cynical but harbours an optimistic desire that hopes against hope. Brynner isn't up to very much, though. He doesn't quite cut it as the scheming manipulator and as the story progresses his character, already pretty unlikeable, doesn't really develop until a rather weak and underwhelming denouement (historical truth notwithstanding). When this was made, there was a chance that one of the Grand Duchesses had survived, and the colourful and stylish look of this film tries hard to capitalise on those intriguing rumours. Sadly, though, here the dialogue is wordy and there is little by way of on-screen chemistry to distinguish this disappointingly episodic and plodding historical drama.