WAR & PEACE boasts cinematography at its finest.
It’s time for Tom Harper‘s extremely dramatic WAR & PEACE adaptation to come to its frosty end as we prepare ourselves for an epic conclusion. With Napoleon charging at the Russian soldiers with extreme force, is their hope for our beloved aristocrats?
Opening with that foreboding score, we’re reminded of the drama of last week’s episode, the blood shed and the devastation. Napoleon has Moscow in his sights while its current inhabitants run wild in the streets, hellbent on leaving; looting and fighting as they go. The French are coming.
The Rostova’s must flee their beloved home and travel to safer ground. Natasha’s (Lily James) disgrace still plagues her mind as she worries for Pierre’s (Paul Dano) well-being; fearful for his safety. He appears amidst the carnage of Moscow’s streets, just in time to see Natasha leave; whispering his dramatic plan to murder Napoleon himself.
He looks visibly colder, harder and indeed older. War has taken its extreme toll. Arriving back to his home, he’s made all too aware that it has been commandeered by a surprisingly charming French soldier. They bond over wine in the warm glow of candlelight, a strange sense of nostalgia sweeps over the screen in this troubling time; the memories of those first episodes of decadence strong in our minds, a sense of normality is restored if only for a moment.
The Rostov’s arrive at their safe house only to look back on the burning fires of Moscow, black smog looming from it’s silhouette. Pierre is in the middle of the madness, fierce fire at his back he desperately searching for a young girl who’s been lost in the chaos; is this his chance to find some kind of true absolution? Paul Dano gives a wonderful performance as the terror and madness of the situation seeps into his once peaceful mind as he’s dragged howling from the street.
As fate would have it, Natasha and Andrei (James Norton) are reunited in the most painful of circumstances. He lies wounded, feverish and desperate while she creeps to his bed, an image of pure redemption and beauty. Andrei confesses his continued love and our hearts weep for their time wasted and what terrors might await them still. Natasha feels clearly so desperately guilty for her betrayal but Andrei is overcome with a calm sense of clarity. He loves her, so clearly he does, but his awareness of their lack of longevity is painfully clear.
Moscow has well and truly fallen under French regime and what a desperately wicked sight it is. The slaughter of innocent men, their blood stained clothes screaming from the screen. Pierre finds himself in line for execution, only to be saved at the very last moment; a wave of relief washing over us with great intensity. He still remains their captive.
Sonya (Aisling Loftus) makes the painful decision to release Nikolai (Jack Lowden) from their engagement, much to his joy. Our sadness for Sonya is juxtaposed for the joy we feel towards Marya (Jessie Buckley) and the thought that she might finally find love and affection from somewhere genuine and kind.
Marya travels to her brother, desperate to be reunited despite the Rostov’s niceties, only to relax a little when she’s greeted by Natasha. To see her brother so desperately close to death is overwhelming for tender Marya and we’re again so proud of her development across the series, her strength continuing to grow despite the pain she has endured.
Tears spill down our cheeks as Prince Andrei leaves us at last. It is deservingly peaceful, remorseful and entirely beautiful. Filled with the glorious images of his turbulent life; a stunning ending for him, a sense of true peace that we have desperately craved for the forlong soldier.
Winter approaches and Napoleon begins to retreat, taking Pierre and his new found friends with them. The blazing fires are replaced with the equally devastating frost, snow threatening at every moment. Pierre’s mood may have improved if he had known of the hatred his deceiving wife was feeling as she finds herself with child. Unwanted, humiliated and alone she screeches into the night, desperate to rid herself of this burden; leading to her lonely death.
Completely unaware of his new widower status, Pierre shuffles through the cruel snow, icicles forming from his raged beard. Beautiful, deadly white snow lays across the land, snowflakes blow fiercely in the wind and our dear Pierre is hopeless.
The Russian soldiers lay in wait to attack the French as they retreat. The harsh winter not dampening their strong spirits, they’re determined to ensure Napoleon will never return to Russia. The deafening sounds of their screams, the rumble of their horses heavy hooves, the bursts of gunfire quickly throw us back into the carnage of war. Sweet Petya Rostov (Otto Farrant) is lost in the fight, a bloody and unjust death that destroys the Rostov family.
The Rostov family face such extreme changes, Nikolai finds himself at the centre of responsibility; his pride threatening to destroy the hopes of his marriage to sweet Marya. Thanks goodness though, we are granted some happiness to this epic end as their love promises to continue to blossom.
Moscow is free yet we are left with the devastation of its previous demise. There is comfort to be found in the safe return of our Pierre, looking far more like his former self back in his lavish clothes and beautiful home. However, we know he has changed and that is somewhat comforting too. He found his absolution and our hope that he continues to do good work is a strong one.
Despite the tragic losses throughout the series, we end on a beautiful sense of elliptical narrative form. Our meddling families started together and in some ways, they end together also. The Rostov’s and Bolkonsky’s merging into one and Pierre and Natasha’s friendship turning into companionship and, at long last, love.
Such wonderful imagery continued to play so beautifully on screen, like visual poetry it is dotted across the narrative with grace and delicacy. The beautiful red mist of Moscow’s demise, the stunning blankets of snow with glowing sunlight bursting through the broken forest canopy, the glorious cinematography, the beautiful symmetry and mise-en-scene; the list of joys to be found in Harper’s WAR & PEACE are seemingly endless.
Verdict
