LADY MACBETH OF MTSENSK (Petr Weigl, 1992)

Dmitri Shostakovich and Alexander Preis’s four-act opera, based on Nikolai Leskov’s nineteenth-century novella, has been cut, but Czech-born Petr Weigl’s 100-minute film version, vacuous and unfocused, is too long already. Weigl has nothing to show, nothing to say. His is certainly vastly inferior to Andrzej Wajda’s non-singing 1961 version of the Leskov story, a film […]