Ivan the Terrible, Part II: The Boyars' Plot

Иван Грозный. Сказ второй: Боярский заговор (1958)
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Production
Release date
Revenue
$1 655
Composer
Actors
Photo Nikolai Cherkasov
Nikolai Cherkasov
Czar Ivan IV
Photo Serafima Birman
Serafima Birman
Boyarina Efrosinia Staritskaya
Photo Pavel Kadochnikov
Pavel Kadochnikov
Vladimir Andreyevich Staritsky
Photo Mikhail Zharov
Mikhail Zharov
Czar's Guard Malyuta Skuratov
Photo Amvrosii Buchma
Amvrosii Buchma
Czar's Guard Aleksei Basmanov
Photo Vsevolod Pudovkin
Vsevolod Pudovkin
Nikolay the Fanatic
Photo Mikhail Kuznetsov
Mikhail Kuznetsov
Fyodor Basmanov
Photo Alexander Mgebrov
Alexander Mgebrov
Novgorod's Archbishop Pimen
All actors and roles (10)

Short description

This is the second part of a projected three-part epic biopic of Russian Czar Ivan Grozny, undertaken by Soviet film-maker Sergei Eisenstein at the behest of Josef Stalin. Production of the epic was stopped before the third part could be filmed, due to producer dissatisfaction with Eisenstein's introducing forbidden experimental filming techniques into the material, more evident in this part than the first part. As it was, this second part was banned from showings until after the deaths of both Eisenstein and Stalin, and a change of attitude by the subsequent heads of the Soviet government. In this part, as Ivan the Terrible attempts to consolidate his power by establishing a personal army, his political rivals, the Russian boyars, plot to assassinate him.

What's left behind the scenes

  • The film is included in the 1978 book "The Fifty Worst Films of All Time (and How They Got That Way)" by Harry Medved and Randy Dreyfus.
  • The film was shelved by order of Joseph Stalin (1878-1953), who believed the director focused too heavily on the madness of Ivan the Terrible (1503-1584) and the Oprichnina. The film was only released a decade after the death of Sergei Eisenstein (1898-1948).
  • The film was shot between 1946 and 1949, but it was not released until 1958.
  • The film is black and white, with the exception of one scene in the second part and the final episode. The color inserts were filmed using an experimental 'bi-color' technique, which produced only shades of red and blue.

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