The novel was written in an epistolary format, with a number of different narrators on a chapter-by-chapter basis: Tolstoy himself, his wife Countess Sofya Tolstoya, his daughter Sasha Tolstoya, his doctor Dushan Makovitsky, his ally Vladimir Chertkov, and his private secretary Valentin Bulgakov. The film telescopes things considerably, with the Tolstoys and Bulgakov the primary focus; the others are present, but as supporting characters. Bulgakov (James McAvoy; as in “The Last King of Scotland”, playing the viewpoint character to other actors who earn the Oscar nominations; poor guy) is selected by Chertkov (Paul Giamatti) as the new secretary, as well as Chertkov’s man in the Tolstoy residence, since he needs to keep an eye on the Countess. At stake is Tolstoy’s copyrights, which his wife wants to pass to his heirs to sustain the family (they’ve a standing offer a million rubles for the whole set, which is nothing to turn down lightly), while Chertkov wants the whole body of work to enter the public domain, as a gift to the people of Russia (and the world). The Countess (Helen Mirren, who earned her fourth Oscar nomination for her dynamite work here) is very materially-minded, unlike Tolstoy (Christopher Plummer, who was finally delivered from the ranks of great actors passed for Oscar nominations with his role), who lives in a state of deepening spiritual conflict over the lavish lifestyle his wife desires.

The conflict between intellectual ideas and practice is at the heart of the film. Tolstoy himself admits that he is, in a lot of ways, not a very good Tolstoyan, mainly when it comes to his ideas about the value of chastity (having thirteen children, and quite a few past lovers). Bulgakov, young and idealistic, finds himself increasingly involved with Masha (Kerry Condon), a spirited woman at the Tolstoyan commune; and, in his capacity as secretary, he’s at the centre of the tug-of-war between Sofya and Chertkov. Bulgakov finds himself increasingly drawn to the side of Sofya, who sees Tolstoy’s work as the work of her life as well; anyone can sympathize with somoene who copied out “War & Peace” in longhand six times. Mirren invests her with quite a bit of relatability, as well showing her a truly spectacular drama queen (much more of one than any of the four real queens Mirren has played). She’s well-matched with Plummer; their scenes together are the highlights of the film. McAvoy does what his role requires, and he and Condon make a believable couple, even if their more low-key characters are always in the Tolstoys’ shadow. Also present is McAvoy’s real-life wife Anne-Marie Duff (amusingly not playing his love interest, but Tolstoy’s daughter Sasha). Giamatti and John Sessions (as the family doctor) provide able support.

The film is more direct than the novel in taking sides in the battle between Sofya and Chertkov, pronouncedly sympathizing with her, which is, I think, a somewhat indulgent view in many ways. It’s quite true she invested a lot of her life in the work, but the film deals only glancingly with the social justice concerns at the heart of the Tolstoyan movement. The reality of Russia in 1910 was a population of tens of millions living in abject poverty and illiteracy (one of my favourite parts of the novel, not included here, was Tolstoy’s speculation about what those millions could possibly think of a novelist, not being able to read, nor really having the time for such things), under the sway of a despotic Tsar, a corrupt government, and an indifferent ruling class, a class that Countess Tolstoya belonged to. The core dispute between Sofya and Chertkov was that Chertkov cared quite a bit about the plight of those millions, and Sofya not at all; Chertkov’s great sin was being more interested in the world’s grotesque social problems than keeping the Tolstoy family in their enormous mansion. Sympathetic as she might be at times, a bit more perspective might be advised there.

Recommended.
Rating: 5 / 5

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.
Rating: 3 / 5

The performances here are a riveting exhibition of controlled chaos, as the actors (especially Mirren) punch every scene up to the rafters yet never seem to go over the top. Hoffman never leaves you in doubt that he sides with Sofya, who endured multiple sacrifices and humiliations for the sake of her genius husband. But all of the characters are given their say, and even Chertkov gets a modicum of sympathy. Emotions run high throughout the movie, and by the time it reaches its poignant end in the eponymous railway station, you’re likely to feel pretty emotional yourself. “The Last Station” is an actor’s feast.

Rating: 4 / 5

Mirren and Plummer bring to life two provocative individuals and the issue of fundamental disagreement within a marriage and partnership. The Tolstoy’s long and presumably loving relationship, encompassing the birth of 13 children(8 of whom survived), is now ending as Count Tolstoy anticipates his death. He plans to leave his copyrights to the “People of Russia”. Countess Sofya, who had a role in creating the novels, feels abandoned by his decision.

I believe the movie would be stronger if there were some foreshadowing as to how Tolstoy decided this. The Tzar’s oppression and the ideas emanating from the West are off stage. Tolstoy’s own estate is idyllic and his peasants (presumably the surfs liberated by Alexander II) seem well fed and non-descript (i.e. not shown as discontent). Moscow appears as a prospering city, not one in need of a revolution. Without an explanation, and with the depiction of the mentally and physically deteriorating Tolstoy, and with the devilish role played by Paul Giamatti, the film leads you to conclude that Tolstoy is being manipulated by his followers.

The parts for Tolstoy and the Countess are well written, but the romance between Valentin and Masha had a big reality gap for me. While Valentin’s role as Tolstoy’s secretary is believable, Masha’s aggressive visit to his room is not. Her later switch from a physical to a loving partner and even her well pressed shirt in the chopping wood scene are stretches. I presume the romance is intended to show that indoctrination has not muted Valentin’s human qualities, but there are more nuanced ways to show this.

Maybe I missed it, but I’m not sure how/why Valentin appeared at the station. I thought that he had been ordered to look after Sofya.

This is a very thought provoking film. Sofya knows she is losing her husband and will soon face the world alone. She has received no public credit for what she cites as major support in creating the world acclaimed novels. She worries about her future (although it appears the vast estate will be hers). She feels artistic ownership although this and the role of women are not themes. Sofya acts out her frustration which her rivals, including a bratty daughter, easily use against her.

Despite the shortcomings above the Mirren and Plummer performances, the beautiful sets and thought provoking story make this a worthwhile movie to see.

Rating: 4 / 5