First Paper - Onegin and Na Sopkakh Manzhurii -- RUSS 351

7/31/2019 First Paper - Onegin and Na Sopkakh Manzhurii -- RUSS 351

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Claire (Clara) Leon

RUSS 351

23 October, 2008

On the Hills of Manchuria in Martha Fiennes film Onegin

Martha Fiennes film Onegin is an interesting and beautiful adaptation of Alexander

Pushkins novel in verse,Eugene Onegin. It is consistent in its portrayal of the characters and

events of the novel, giving them great depth and credibility. Her interpretation of the work isperhaps unexpected to those familiar with Russian culture, though; the settings seem darker and

characters seem colder, less emotional and less fond of each other than one might expect,

especially if one is familiar with Tchaikovskys opera. Such behavior, however, seems typically

English, and probably Martha Fiennes has done an excellent cultural adaptation of the work. Mostlikely, the characters words and actions would seem normal and expected, in their context, to an

English audience. This is an English movie set in Russia. Nonetheless, much of the films

soundtrack is based on Russian music to a very interesting effect. One particularly interesting

choice was the inclusion of the song , On the Hills of Manchuria, inthe scene where Onegin is dancing with Olga at Tatianas Name Day Party, as well as in the very

last scene of the movie, where Onegin is walking away from the camera down a St. Petersburgstreet. This song also plays as the credits roll, so one can imagine that it is very important in this

film.

Actually, it is anachronistic that On the Hills of Manchuria should be played in this film,

for, as a commentator on IMDB states, the movie is set in the first half of the 19th century, and

the song was written only in 1906; (and named after tragic events of the Russian-Japanese war of

1904-1905 years). On the Hills of Manchuria is a waltz but one fraught with historical and

military significance. Andrey, on the website Songs Written Before Revolution explains it waswritten to commemorate the Russo-Japanese war of 1904-1905. Immediately popular, it became

even more popular after the beginning of WWI and remains popular to this day. The lyrics portray

a silent hill at night, somewhere in far-off Manchuria, where rows and rows of white crosses markthe graves of fallen heroes who [dont] hear Russian tears.

A darling mother is crying, is crying,A young wife is crying.

One and all are crying

And are cursing their fate and destiny.

Let [the grasses of the steppes]Call up dreams to you,

Soldiers of the Russian land, be asleep,

Sons of the dear Fatherland. (From Andreys translation.)

This seems a strange song to include in a film like Onegin. This film does not have to do

with the Russo-Japanese war, nor any other war at all. Although Lensky dies, and violently, too, itcannot be said that he gives his life for his country, and besides, Lensky is not really the focus of

the films attention when this song is played. No, this song is Onegins theme more than anyone

elses.


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Yet, the song fits well in the film. If viewers are not familiar with it, they might not notice

it being out of place or unlike the other dance tunes played at Tatianas name day party. It does not

seem like this is the only military song played in the movie; in the scene, near the end, whereTatiana and her husband are making love, it sounds like the soundtrack music is a march, although

it is slowed down and hushed to the point that it is unrecognizable. There, one can imagine that, as

a march is a rallying cry to soldiers, giving them courage and pride to continue, so Tatiana ismustering up her feelings of duty and devotion for her husband, convincing herself that she is

doing the right thing in ignoring Onegins advances. But, what does On the Hills of Manchuria

mean in this film?

It first plays in the scene where Onegin is dancing with Olga, trying, and succeeding, to

make Lensky jealous. The music plays louder and louder as Onegin and Olga dance faster and

faster. The screen is taken up almost entirely with their bodies and movement. Lensky is sure thatOnegin is seducing Olga and Olga certainly seems enthralled. She smiles broadly and breathes

deeply, perhaps from her exertion but also from emotion. As the scene progresses, the camera

focuses more and more on only this pair, as Olga must be caught up in the moment and in Onegin,

forgetting, perhaps, that Lensky is in the room.

In the novel, we understand that Onegin dances with Olga to get revenge on Lensky, whomade him come to the party. Here, the music clearly shows that this is not a lovers waltz, but a

challenge. The saying goes that alls fair in love and war, and here love, or seduction, and war, at

least the kind thats between two people, are equated. Lensky watches Onegin and Olga dance,angrier by the minute. In the end, their dancing, as well as Onegins cruel words when Lensky

accuses him of seducing Olga, Onegins attestation that Olga would not be difficult to seduce,

cause Lensky to challenge Onegin to a duel and, in the end, Lensky is killed and not only Lenskys

and Olgas love, but Onegins and Tatianas, is doomed.

This is a fascinating use of music, an inspired choice, yet one might still ask, Why On

the Hills of Manchuria? After all, it is not the only Russian military song ever written, (far fromit!), and, after all, it is not even of Pushkins era. Yet, it seems that the choice of this song goes

beyond its significance in that scene. It is played as the movie ends, too, in a very ambiguous scene

in which the disappointed Onegin walks through the snow-covered streets of St. Petersburg, neverfacing the camera. Why is that?

The songs lyrics say that One and all are crying /And are cursing their fate and destiny.

This clearly rings true for Onegin, who is cursing his fate for coming into Tatianas life at thewrong time, when she is no longer free to love him. Tatiana, too, curses her fate that Onegin came

when he did. Is it really fate, though, that brought about their unhappiness?

In fact, it seems that Onegin himself has brought the whole situation upon himself, as well

as ruined Tatianas happiness, and Lenskys, too. Onegin does have some feelings for Tatiana

when she writes to him of her love. In this film, his feelings seem even more pronounced than inPushkins novel, as evidenced by the scene early on when Onegin and Tatiana meet in Onegins

library and exchange many meaningful glances. As Tatiana leaves, Onegin remains in the

doorway, watching her go. Then, there is the sketch that Onegin drew of Tatiana that she later


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finds among his things. Yes, he does have some feelings for her even then, but he chooses to reject

her.

Then, he chooses to dance with Olga, expressly to upset Lensky. Once Lensky is made

angry, Onegin does not try to calm him, (he does in the opera, but not in this film) but rather says

even more offensive things to him. He is not the one to call for a duel, and he does, in the film, tryto speak with Lensky before the duel, but during the duel he still shoots and kills Lensky. Then, he

goes abroad for six years. Tatiana has no choice but to marry someone else. Later, when he meets

Tatiana again, when his feelings of passion and desire for her are awakened, he could choose toignore them and to avoid her, but instead he gives in to his emotions and follows her everywhere,

even to her home! Yes, so in the end Onegin is mourning, as all are mourning, what fate has

wrought, but that fate was really wrought by Onegin himself!

It seems to be a bit the same for the martyred soldiers in the song. The Wikipedia article

on the Russo-Japanese war states that it was a conflict that grew out of the rival imperialist

ambitions of the Russian Empire and Japanese Empire over Manchuria and Korea. Had Russia

been less ambitious in gaining this land, and had Russia been more willing to cooperate with Japanto work out a peaceful solution, perhaps Japan would not have declared war. Russia expected to

win handily, but was surprised by Japans military might and suffered a series of embarrassing andcostly defeats, which later led to further political instability in Russia.

Of course, this situation is far more complicated than that portrayed in Onegin, but itseems that here, too, there is an element of blaming fate for that which people brought upon

themselves. Russia sent these young men out to fight, expecting an easy victory, and when they

have died, consoled itself with patriotic music blaming fate for their misfortune. Perhaps this is an

unduly harsh interpretation of the songs historical origins, for, most likely, neither the songwriternor the people especially moved by it were the ones responsible for the war, and certainly, it is not

only Russia but Japan that was also responsible. It is still clear, though, that the element of fate,

which is not really fate at all, is present in the song and it is, for that reason, that it is so pertinent asa musical theme in the film Onegin.

Thus, the choice to include On the Hills of Manchuria in this film has a fascinating andvery powerful result. It is hard to imagine a better choice than this.


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Bibliography

Clara Leons history notes from class in Russia (At Moscow International University) about the

Russo-Japanese war

IMDB entry forOnegin, http://www.imdb.com/title/tt0119079/

Onegin, Dir. Martha Fiennes. 1999

Pre-Revolutionary Songs, Andrey. 2006.http://rkkaww2.armchairgeneral.com/Multimedia/prerevolutionary.htm

Russo-Japanese War, Wikipedia. 2008. http://en.wikipedia.org/wiki/Russo-Japanese_War
http://www.imdb.com/title/tt0119079/http://rkkaww2.armchairgeneral.com/Multimedia/prerevolutionary.htmhttp://en.wikipedia.org/wiki/Russo-Japanese_Warhttp://rkkaww2.armchairgeneral.com/Multimedia/prerevolutionary.htmhttp://en.wikipedia.org/wiki/Russo-Japanese_Warhttp://www.imdb.com/title/tt0119079/

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First Paper - Onegin and Na Sopkakh Manzhurii -- RUSS 351