This mini-series is the ultimate psychological thriller with a powerful sense of guilt and retribution, set in St. Petersburg in the second half of the nineteenth century. Rashalnikov is a ...
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Obsessed with the fear that Porfiry suspects him, Raskolnikov has promised to tell Sonia who killed the old pawnbroker and her sister. He has returned to his room unaware that a greater danger awaits...
Living in squalor, a former student and loner (Raskolnikov) murders an old pawnbroker woman in order to confirm his hypothesis that certain individuals can pretermit morality in the pursuit of something greater.
Raskolnikov, an impoverished ex-law student, kills an old pawnbroker and her sister, perhaps for money, perhaps to prove a theory about being above the law. He comes to police attention ... See full summary »
(Russian with English subtitles) Former student Raskolnikov is pushed to murder when struggling to pay the rent on his apartment. When the murder is being investigated by the police, ... See full summary »
This mini-series is the ultimate psychological thriller with a powerful sense of guilt and retribution, set in St. Petersburg in the second half of the nineteenth century. Rashalnikov is a highly intelligent and striking young student who decides to test his courage and integrity by killing a mean old woman who he is sure nobody will miss. But his crime goes seriously awry and, although there's no clear evidence against him, wily investigator Porfiry sets up a complex series of traps, encounters and conversations which slowly but inexorably allow Rashalnikov to incriminate himself, and eventually confess. Rashalnikov is young, impassioned, lonely, and lost. Despite being a murderer, he is a man possessed by both good and evil who cannot escape his own conscience and his inevitable punishment.
This miniseries has its good points. Raskolnikov's farewell to his mother is moving; Sonya is believably sweet; the interrogation scenes are better than average; Marmeladov's long soliloquy is very well-acted.
However, there are a lot of problems. First, too many of the characters are too creepy and overdrawn, bordering on the freakish. The overacting gets seriously out of hand, especially during the funeral luncheon and its aftermath.
And, as weak as the novel's epilogue is, the film version's is even weaker, amounting to a trite exchange between Porfiry and Sonya and a reprint of the last paragraph of the book over a shot of someone crying.
And I don't think that Svidrigailov should end up as one of the story's more sympathetic characters -- thanks partly to the fact that the actor shows restraint in his role, and therefore seems recognizably human; and partly to the fact that the character's most unsavory urges have been excised from the teleplay.
Finally, I had mixed feelings about Hurt's performance. He spends a lot of the time looking scared and sweaty, but only occasionally conveys Raskolnikov's intelligence and sensitivity.
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