ReaderKenka
Let's be realistic.
Pluskylang
Great Film overall
CommentsXp
Best movie ever!
TxMike
This is one of Robin Williams's very early movies just a couple of years after the TV series 'Mork and Mindy' and right before such successes as 'Good Morning Vietnam' and what followed. Of course now we know what a big star he became, and also his unfortunate death last year.Robin Williams is Russian musician Vladimir Ivanoff and most of the first part of the movie depicts how hard it was in Moscow in the early 1980s. When a performance troupe is in New York he takes the bold step of running off at a department store, chased by Russian officials, but he manages to secure refuge.The rest of the movie has him working hard to make his new home there, thus 'Moscow on the Hudson.' He first takes a job busing tables in a restaurant, just carrying dirty dishes back to the dishwasher. Eventually he takes jobs like clerk at a fast food counter, running a street hot dog cart, a limo driver ... until he is able to get a new saxophone and play good music gigs.The other running story is his attraction to pretty (actually Hispanic) Maria Conchita Alonso as Italian Lucia Lombardo, also making her way into this new land. It is on again, off again because she is not sure she wants to commit to a marriage relationship but in the end it seems they will.Good movie and Williams' Russian seems fairly authentic. I saw it on the 'Movies!' channel, some of the scene with the two of them in the bathtub is blurred and some words are bleeped out.
brchthethird
Directed by Paul Mazursky and starring Robin Williams, MOSCOW ON THE HUDSON is a brilliant and honest look at the immigrant/minority experience in the United States. In what is probably his finest performance, Robin Williams plays Vladimir Ivanoff, a Russian saxophone player for the circus who defects while on tour in New York City (at a Bloomingdale's, no less). Even though there is some necessary character establishment in Russia, the movie is largely concerned with his experience as an immigrant and how he adjusts to life here in the United States. During the course of the movie, he meets a black man named Lionel, who is the first person to take him in, and an Italian immigrant named Lucy (Maria Conchita Alonso).What struck me the most about the film, other than the outstanding message, was the degree to which Robin Williams immersed himself in this role. When he was on screen, it was like I was watching an actual Russian saxophone player instead of him playing a character. As a side note, he actually did learn how to speak Russian and play the saxophone for this film. Beyond that, the movie just felt real in the sense that you could believe that an immigrant would conceivably go through many of the situations portrayed in the film. To many of them, there must be this whimsy and fantastical aura when viewed from afar, but things turn out to be quite different once thrust into it headfirst as Vladimir is. Among the things I really took out of the film is the sense of community that immigrants and minorities have, something which they bring from their own life experiences.There is also the central issue of not taking freedom for granted, as I'm sure many Americans born here would understand. Seeing as this film was made during, and in the context of, the Cold War, life was understandably difficult in countries with dictatorial regimes and the lure of America, a free country, was certainly a strong one and still is to this day. That, I feel, is what should be taken away after watching this film most of all. The United States is a nation of immigrants, and we should all treat each other with respect and appreciate the freedoms we enjoy.Looking at the film from other perspectives, the technical aspects of the film are all excellent, though not flashy. Paul Mazursky allows the drama to take center stage, and it benefits the film considerably. There was also a great score with a jazz tinge, which gave off a whimsical tone at first, but also conveyed a sense of longing. Acting-wise, of course Robin Williams gives an incredibly moving portrayal of a Russian immigrant, but Maria Conchita Alonso also does a great job as his fellow immigrant girlfriend. There are also a couple of small roles played by familiar faces (to me, at least). Overall, this is a remarkably tender and uplifting drama (with some laughs as well) that has a great message and Robin Williams' best performance. This is a film that deserves to be seen, so that we can all be reminded not to take our freedoms for granted.
ccthemovieman-1
Robin Williams became famous, I think, for his stand-up comedy, like his idol Jonathan Winters, but do you realize how many movies this guy has made over the years? He's really become quite a film star and is especially good playing against-type as a criminal or simply as a wacko (see "One Hour Photo?")Anway, this was an early Robin Williams film in which he plays a Russian musician defecting to the United States. He ("Vladamir Ivanoff") first hides out in a big store in New York City before being taken in as an immigrant by a black guy (can you say PC?) Williams does an outstanding job speaking Russian, by the way, as opposed to most English-speaking actors.There really isn't much of a plot here, just slices of life, if you will, some of it with the usual Liberal promiscuous (i.e. "I'm a liberated woman and if I stay the night, don't misinterpret that I want to get involved with you," the Italian tells the Russian. I can think of a few more accurate descriptions that the word "liberated.")All in all, despite the premise and talents of Williams, this was only so-so. It kind of runs out of steam halfway through and it's hard to maintain interest in the final 40 percent of it. Actually, I like Williams better when he plays more serious roles like this although I'm not sure if he himself was ready to play it straight this early in his career. He's just too tempted in this film to produce comedy. He's a talented and very strange guy; this film reflects that.
Erik Flesch
Moscow on the Hudson is a fabulous example of a pretty-good movie chock full of 1980s artifacts like Jordache jeans, feathered hair-dos and Afro Sheen, that is often surprisingly interesting, sensitive and even occasionally profound -- especially on the level of the victory of the individual soul over totalitarianism, and the defense of American capitalism against Marxism.This film brings back a flood of cultural memories of the Eighties, the decade immediately preceding the collapse of the Soviet Union, a time in the United States when our political and cultural self-esteem matched our economic prosperity. It doesn't hurt that this movie stars a young bearded Robin Williams with heart (and Russian soul!) and a really cute and occasionally nude young Maria Conchita Alonso (a real-life Venezuelan immigrant) full of Italian passion and an ambitious independent spirit.Only in the early 1980s could blue jeans from Bloomies, velvety white toilet paper, supermarket coffee, studio apartments, hot-dog stands, cab-driving jobs, and U.S. citizenship ceremonies be portrayed as symbols -- indeed even weapons -- of democratic capitalism in a world still governed "from Stettin on the Baltic to Varna on the Black Sea" by the totalitarian evil against which President Ronald Reagan called a crusade two years earlier in his famous 1982 Evil Empire speech to the House of Commons.The political content of the movie is startlingly black-and-white by today's standards of multiculturalism and moral relativism when many academics defend dictatorships' "sovereign right" to exist, and so the offhand manner with which at every turn the film's writers Paul Mazursky and Leon Capetanos deliver praise to political liberty, capitalism and America's unique cultural acceptance of immigrants dedicated to the pursuit of happiness is remarkable. While the way in which their praises are conveyed may from time-to-time seem a little cheesy, sentimental or dated, their profound significance is not diminished.Exactly because capitalism is an economic system as well as a social system, Robin William's character is portrayed as a Russian seeking a remedy for his literal physical hunger and basic financial requirements of life that socialism fails to satisfy. His Russian friend, played wonderfully by Elya Baskin, suffers from socialism's other often dramatized evil -- its humiliating and paralyzing effect on an individual's creative mind and psychology. Perhaps it is precisely because the film's focus is on Williams' character that Moscow on the Hudson at times comes off as exhibiting the over-the-top 1980s commercialism that made it popular then and a little startling in today's Greener age.Russophiles can get a kick out of some of the Russia scenes. Highlights include the drab Moscow Circus on Tsvetnoi Boulevard including full-figured women in polyester; sour old babushkas enforcing their place in line; and shoe vendors pushing the wrong sizes. They might also find some treatment of Soviet atrocities like sending war protesters to mental institutions, or neighbors reporting dissidents to the KGB a bit trite, but not inaccurate. Such horrors are no less relevant in Putin's Russia of today (October 2006), where the most recent contract killing of independent politicians, businessmen and intellectuals is journalist Anna Politkovskaya.While I've focused on the political content, this movie is not primarily a political piece, but a love story; and not primarily a love story, but a romance of personal initiative -- of immigrants who choose to reject the oppressive circumstances they left behind and to seize the chance to pursue their material survival and eventually, individual happiness. The aims of the film are high, maybe even too high at times for this light film to be able to achieve fully; but it is definitely touching and fairly deals with the array of issues every immigrant faces on a variety of levels. I personally found the love relationship between Williams and Alonso to be touchingly realistic at times; and the individualistic focus of this film to be refreshing, as well as a shocking reminder of how inappropriately self-conscious the American media has become in publicly asserting the universal truth and appeal of its core principles: freedom and capitalism.
