The Island (2006) Ostrav - Movie Review

The Island (Ostrav) takes place at a monastery located on a small set of islands in what appears to be an isolated, frozen part of Russia. The port islands served as a military outpost during the war. But in 1976, an add group of monks are the only full time residents, although they are visited frequently by visitors from the mainland.

Father Anatoli (Pyotr Mamonov) is a pious monk who has been at the monastery since 1942. He was serving at the military outpost when it was blown up by the German Navy. He carries a deep burden, having killed a comrade to save his own life. His deprivation and self-flagellation are exemplary to the other monks. But some despise him. He does not wash regularly, he is a prankster, he break from tradition and faces the wrong way during prayers, and he has his own following of people who seek healing from him.

Father Anatoli lives on his own island. It is a boiler house. His bed is a pile of coals that he uses to feed the fire. His blanket is the dank air inside his hut. Although many people seek his counsel or healing powers, they mistake the Father for a servant. Anatoli uses this to ruse his guests. He often tells them things they do not want to hear, or challenges them when he knows they are lying to him. It seems the Father has the ability to heal, to have visions of the future and to know things about people that he couldn't possibly know. Yet he carries his burden, which has eaten his heart away. He is looking for his own personal redemption, which even the Father Superior (Viktor Sukhorukov) cannot give him.

While The Island was intended to be an art house style film, writer Dmitri Sobolev manages to create a story that has a rewarding ending with a minor twist. Like most films of this genre, we are treated to exceptional character studies that delve deep into a few characters to provide insight and to develop the themes. The cerebral qualities of this film cause it drag for long stretches, relying on exceptional visual stimulation from the picturesque frozen Russian landscape to assist with the story-telling. The story felt simple but clever. Although, visually appealing, this film may bore many viewers because of the snail-like pacing. I, personally, thought the film was brilliant in spite of the pacing.

Mamonov was brilliant in this film. I was intrigued to learn that he is somewhat of a cult figure in Russia, having been a Russian rock star at one time. His conversion to Orthodox Christianity may have compelled him to reunite with Director Pavel Lungin after leaving theater and film to settle in a small Russian village. Mamonov was a perfect choice for the lead in this film, lending a bit of insanity and infusing life into his character with vividness. He is supported by Sukhorukov, who feels credible as the somewhat vain but submissive Father Superior. Dmitriy Dyuzhev takes on the role of antagonist, plotting against Father Anatoli for his pranks (and likely for his followers). Dyuzhev adds some opposition without seeming sinister, which was important for his role.

The Island is a 112 minute Russian film. The version I watched was unrated. I am uncertain if this film has ever received a rating from the MPAA, but if it has not, it would probably be PG or PG-13. The language is modest, the film contains no sexuality or nudity, and the only violence is at the beginning of the film and is fairly mild. The film does deal with death and has some themes that younger audiences would not understand (they will probably just fall asleep or quickly lose interest due to the pacing). Overall, there isn't much that viewers need to be concerned about if younger eyes happen to be nearby. I would watch this film regardless of any concerns about content in that situation.

The Island is a visual, cerebral examination of life in a remote monastery in the far frigid reaches of the Russian empire. Set in 1976, the film examines the life of a monk that has developed a reputation for healing (and an equal reputation for pranks). The writing, casting, dialogue and cinematography cumulatively outweigh the sluggish pacing. This film is woefully slow and not for all viewers. You have to engage this film to truly appreciate it. 8/10.

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