The Last Station

The film "The Last Station" focuses on the last few months of the novelist and writer Leo Tolstoy's family and social life. It stars Christopher Plummer as Tolstoy, Helen Mirren as his wife Sophya, James McAvoy as Tolstoy's new personal secretary Valentin, Kerry Condon as Valentin's charming and aggressive love interest, and Paul Giamatti as the leader of a group of "Tolstoyans" who wish to widely promote Tolstoy's ideals.

The film is set in early 20th century Russia, before the harsh realities of the Russian Revolution occurred in 1917 and thereafter (Tolstoy died in 1910). It was a time in history when Socialism was still an untried idealized conceptual form of government, and Tolstoy in his final years became more "radical" in his political, religious, and social philosophies.

The film raises 2 universal questions: 1) What do you do when the love of your life is in conflict with your highest priority ideals? And how does your treatment or mistreatment of the people closest to you, who have loved and cared for you the most, reflect on the quality of your ideals?

~Spoilers Ahead ~

In the final months of Tolstoy's life, he abandoned his wife of 48 years, Sophya. Before Sophya and Leo married, Sophya knew of his many sexual escapades he shared with her in his diaries. She knew he had fathered a child with one of the servant girls in his household. Nevertheless, she loved him and married him, giving him 13 children, 5 of whom died in childhood. The movie implies the question: At what point does your life become more than a solitary pursuit? After how many years of good treatment and co-dependence with those close to you does your life necessarily and deservedly become considerate of more than just your own priorities? Where should your deference be?

In 2009, it was widely reported that a British couple, both 98 years old, divorced. When a friend of mine heard of the story, she said, "What was the point?" It's a fascinating question. When do we ever stop wanting to define ourselves, our relationships, and our boundaries?

James McAvoy's character Valentin is a young, romantic idealist who wishes to promote Tolstoy's ideals. He runs into a young woman named Masha, who is less interested in layers of idealism, moral laws, and controls, and is more interested in physical and emotional feelings and connections. She quickly disarms his protests by being sexually aggressive with him. His ideals lose some of their zeal and absolutism when confronted with Masha's ability to naturally please him.

The film parallels Valentin's young love story with Tolstoy's love story with Sophya. Valentin is given a rare view, at a young age, to watch "ideals" clash with "love." Valentin, living in the house with Tolstoy, is able to watch a "great man" who is leading a "revolutionary" movement. He's able to watch how Tolstoy's focus on "the greater good" appears to harm and betray his wife, whose ideals are in conflict with his.

The film implies that Sophya did more than cleaning house and raising children while Tolstoy wrote. She tempered his novels' dialogues and added exceptional advice to his female portrayals. She transcribed and edited his major novels. She was not simply his wife, she was a co-creator of his greatest artworks.

The film is based on a 1990 novel "The Last Station" by Jay Parini. The title refers to many things, including the fact that Tolstoy died at a train station, fleeing his wife and estate. The title also implies the question: How will your actions in the last station of your life define your legacy? What will your last station leave behind for your immediate social circle and your community in general?

The screenplay is tight, moving, and never circuitous. The direction is solid and never distracting. The actors are excellent. I've heard the most praise for Mirren and McAvoy, but I found Plummer's and Condon's performances to be equally excellent. Plummer is in top form, less affected than in his younger roles. The film is a perfect length and the roles are not drawn as too overwrought or too "good" vs. "evil." We see the conflicting ideals of each of the main characters and we can easily understand the warfare that develops when their strong boundaries don't wish to co-exist.

I was hesitant to give this film a "number of stars" rating. But I appreciate it when other reviewers place some measurable rating on the films they review. When trying to come up with a correct number, I asked myself: "What was wrong with this film?" And I couldn't think of anything.

It's difficult for viewers to leave this film feeling good. This is not a film with a "feel good" ending. It's a real story about complex people who in the end desperately didn't want the same things. There are no clear winners in the final act of Tolstoy's life's story. But over time, I'm glad the work of his whole life has shined brighter and more prominently than his final chapter.

"The Last Station"--oh, what a great movie experience. It has superb acting, a fascinating story, stunning cinematography, and the evocation of a period in history. Leo Tolstoy, Russia's greatest novelist, espoused many ideas and spiritual principles in his later life which formed the Tolstoyan movement. Christopher Plummer is magnificent as Tolstoy in his last days, and Helen Mirren, is, as usual, truly memorable. A battle is going on in the film between Mirren as the Countess wife of Tolstoy versus Paul Giametti, at his nastiest, playing the head of the Tolstoyan movement. He wants the copyrights to the master's works to go to the Russian people, while she wants the rights to go to her and the family.
She hectors her husband not to give in to Giamatti and deny the family the income from his work. It's a titanic struggle among Plummer, Mirren, and Giamatti that forms the basis for the story. The Tolstoys have been married for forty-three years and have had a number of children. Even though Tolstoy dressed in peasant garb, they still lived a privileged life with many servants.
Giamatti gets a Tolstoy disciple, played with great skill and artistry by actor James McAvoy to become Tolstoy's secretary and spy on the wife. Celibacy is one of the guiding principles of the movement, but on the commune he quickly falls for a young woman and forgoes his vow. Mirren walks a thin line, avoiding shrewishness in her battle, and showing her true love for her husband. Their love scenes together show true chemistry. The rooster and hen scene is great fun.
One of the outstanding features of the movie is the way it photographically recreates life in the first decade of the twentieth century on a Russian country estate and the life and work of the many peasants who endured lives of quiet desperation in Czarist Russia. In every outdoor scene you see the serfs toiling in large numbers.
It's a love story in which a woman's struggles for family equity get entangled with the fanaticism of an ideology. The movie's title will become apparent at the end. It's an antidote to all of the action movies and drivel out there. What shines through in all the characters is their deep humanity and their depths of emotion. It's a superior film, very satisfying and enriching.

If you've read War and Peace and Anna Karenina or any other works by Tolstoy, the idea of a film about the great Russian author's fascinating latter years as he disavowed his earlier writings for deep religious principles and social reform is an intriguing prospect, but I'm sure there can't be too many others similarly thrilled by the notion.

It is a strange subject to make a film around, there's no denying that, and indeed The Last Station - based around the struggle over the publishing rights of his entire works between Tolstoy's favourite disciple Chertkov (who wants them to be given freely to the people) and the Countess Sofya (who believes they belong to the family and herself who have supported the Count over the years) - isn't the most dramatically thrilling of situations. To add variety to the constant back and forth battles, showdowns and shouting matches between Chertkov and the Countess over the terms of Tolstoy's will, there is a conventional romance thrown in between naïve new disciple Bulgakov and the rather more worldly Masha on Tolstoy's commune.

Despite the fact that nearly all the situations take place around him between the other protagonists, Tolstoy however rightly retains the strongest position in the film, a fact that can be attributed almost entirely to a convincing performance by Christopher Plummer. While performances are equally as good elsewhere from Helen Mirren, James McAvoy, Paul Giamatti and John Sessions (particularly Mirren), it's hard not to see them as indeed "performances" by well-known and respected actors, whereas Plummer completely inhabits his role and convinces as Tolstoy, putting real character behind the man's revolutionary ascetic, pacifistic ideals. While it never really explores these beliefs and sentiments in any great detail (go read Tolstoy's later works if you are interested, they are worthwhile and, ironically, out of copyright in English translation they can now all be downloaded for free from Gutenberg), it does go some way towards making The Last Station a little more meaningful and enjoyable as a film.