Very very predictable, including the post credit scene !!!

Too much of everything

A lot more amusing than I thought it would be.

An old-fashioned movie made with new-fashioned finesse.

This Movie was by far the greatest Russian Movie I have ever seen. I have been awake for over 72 hours rewatching the movie over and over in the hopes of finding all the greater meanings. My wife has been watching this movie with me as well and this has really spiced up our relationship. If you are also a true fan i would highly recommend watching this movie in reverse because it causes your view to change about all the characters in the movie. If you are looking for a movie that will make you laugh, Cry, and scream this is the movie for you.(P.s. the Grey Fence in the movie is very cheaply made you can see the metal support beams sticking from the sides)

gentle, fragile, delicate. Tchekov spirit in an impressive adaptation of a very well short story. a show of nuances in which Iya Savvina is fabulous. for the measure of gestures, for the force of words, for the translation of a profound drama without any cure or limit. a film of nuances about shadow of happiness. a man, a woman, a husband, a wife, Ialta. and few walks. entire flavor of a time is recreated. entire charm of a great writer creation is exposed in magnificent mode. like an old song," Dama s sobachkoj " is a kind of time travel. in heart of lost world. in middle of bitter circle. in fact, only continuous present far from every mask.

I enjoyed this beautifully filmed tale of forbidden love in Yalta.What made the movie for me was the performance of Aleksey Batalov as Dimitri. I never tired of looking at his face. The sensitivity Batalov showed in almost every scene made him unusual yet believable.It was interesting to read on Wikipedia that the beautiful Iva Savvina wasn't even a professional actress until her breakout performance in this role. Her neurotic portrayal was credible but not nearly as interesting.The scenes in Yalta were far better than the rest of the film. I felt the story descended into something more conventional afterward, with Batalov pining for the excitement he had experienced during a short respite from his marriage of convenience.I found the somewhat ambiguous ending to be rather flat. So they'll try to figure something out. OK. The denouement didn't live up to the rest of the film but this was still well worth watching.

They don't make films like this any more. In film you either make it in the best time honoured classical tradition: logical sequence, irony, exquisite painstaking set-ups with perfect lighting, costumes, extras, everything pleasing to the eye and the heart and you find others watching it with a smile on their faces; or you make it so fast, jump edits, ramping, so wild that only you know the rules. Well you can do it the Clint Eastwood way which is the perfectly oiled machine: film them during the rehearsal. He really belongs to the classical genre. The problem with the second way is that you can't sit easily through two hours of a movie made like that. A pop video of two minutes fine, otherwise you emerge from the cinema with your brain fried and the stupid expression you get after sitting through three hours of watching ad commercial festivals. I've done it many times, and it's unnatural, and not good for you. THE LADY WITH THE LITTLE DOG is a perfect little story, superbly acted, observed, costumed, directed, lit, everything. A masterpiece of black and white. It cannot be faulted in any way. It must have taken ages to do the set-ups, something no one can afford to do these days; but then with the state paying the salaries, who was counting? So it was made during the Soviet era: but what is perfect, is perfect, for all time.