The adaptation of great literature into cinema is rarely a seamless triumph, as the grandeur and complexity of epic novels often clash with the constraints of the film medium. Leo Tolstoy’s monumental 1869 novel War and Peace—a sprawling exploration of Napoleon’s invasion of Russia, interwoven with intricate character studies and philosophical musings—posed an especially formidable challenge to filmmakers. Even seasoned Hollywood directors like King Vidor, whose career spanned decades of celebrated work, faltered in their attempt to translate Tolstoy’s thousand-page masterpiece into a cinematic experience. The 1956 War and Peace, despite its ambition and star power, remains one of Vidor’s lesser-regarded works, underscoring the inherent difficulties of condensing such a vast narrative into a digestible, compelling film. While the adaptation retains a modicum of fidelity to Tolstoy’s themes and plot, it ultimately stumbles under the weight of its own contradictions: a bloated runtime, disjointed pacing, and creative decisions that prioritise spectacle over substance.
The task of distilling Tolstoy’s sprawling text required the collaboration of eight screenwriters, yet the resulting script manages a reasonable approximation of the source material, albeit with significant omissions. The film opens in 1805 Moscow, introducing the Rostov family, a slightly impoverished aristocratic household whose members include the headstrong young soldier Nicholas Rostov (Jeremy Brett) and his spirited sister Natasha (Audrey Hepburn). Nicholas’s friend Pierre Bezukhov (Henry Fonda), a socially awkward, intellectual heir to a vast fortune, becomes a central figure in the story. Pierre’s transformation from a penniless outsider to a coveted bachelor drives much of the drama, as does his tumultuous marriage to the flirtatious Helene Kuragina (Anita Ekberg), whose infidelity leads him into a life-threatening duel with the dashing Count Dolokhov (Helmuth Dantine). Meanwhile, Nicholas’s comrade Prince Andrei Bolkonsky (Mel Ferrer), a disillusioned military officer, enters the War of the Third Coalition, sustaining severe injuries at the Battle of Austerlitz. His eventual return home, after witnessing Napoleon (Herbert Lom) himself, coincides with the tragic death of his pregnant wife, Lise (Milly Vitale). The narrative then pivots to Natasha’s near-ruination by Helene’s brother Anatole (Vittorio Gassman), whose manipulative advances threaten her reputation, and to the looming shadow of Napoleon’s 1812 invasion. While these plotlines broadly mirror Tolstoy’s structure, the film’s compression of events—particularly the rushed handling of key historical moments—leaves much to be desired.
The road to the 1956 adaptation was long and fraught, with development beginning in 1941 with rival projects under producers Alexander Korda and Mike Todd before being taken over by Italian producers Dino De Laurentiis and Carlo Ponti. Shot in Italy’s Cinecittà Studios with thousands of extras provided by the Italian Army, the film exemplified the era’s ‘epic’ genre: a Technicolor spectacle designed to compete with the rise of television. Its lush visuals, widescreen format, and grand battle sequences aimed to overwhelm audiences with scale and spectacle. Though the film garnered Oscar nominations, its legacy has faded into obscurity, overshadowed by its Soviet counterpart and dismissed as a bloated, uneven effort. The project’s multinational production—blending American stars with Italian crews and locations—created a disjointed cultural identity, further distancing it from the novel’s Russian roots.
The film’s shortcomings stem from a series of questionable creative choices, most notably its lack of narrative cohesion. Tolstoy’s novel thrives on its episodic structure, weaving personal and historical threads into a tapestry of ideas about war, morality, and destiny. Yet the 1956 adaptation struggles to balance these elements, resulting in a disjointed experience. The film’s greatest triumph lies in its depiction of Napoleon’s invasion and the catastrophic retreat of his army, particularly the reconstruction of the Battle of Berezina—a scene absent from Tolstoy’s text but rendered with striking realism. These sequences, with their sweeping vistas and chaotic combat, capture the chaos and human toll of war. However, the film’s first two-thirds are dominated by the romantic and interpersonal conflicts of its characters, transforming Tolstoy’s philosophical epic into something akin to a melodramatic soap opera. The script’s refusal to provide exposition or historical context—assuming audiences’ familiarity with the novel—leaves modern viewers adrift, unable to grasp the significance of key events or the motivations of secondary characters.
The film’s musical score, composed by Nino Rota, compounds these issues. While Rota’s contributions to cinema are legendary, his work here is hampered by anachronistic choices. Several songs feature English lyrics that clash with the film’s Russian setting, and their placement feels forced, bordering on parody. These missteps render the score more distracting than immersive, detracting from the film’s gravitas.
The casting decisions are similarly uneven. Audrey Hepburn brings warmth and charm to Natasha, her youthful energy making her one of the film’s highlights. Her chemistry with Mel Ferrer—her then-husband—adds authenticity to their on-screen romance, though the script’s dialogue stunts their development. Ferrer, as Prince Andrei, delivers a serviceable performance, though his character’s philosophical depth is underexplored. Henry Fonda, however, is miscast as Pierre Bezukhov. At 50 years old, Fonda’s age and gruff demeanor clash with the character’s youthful idealism and intellectual naivety, rendering his transformation from student to world-weary adult implausible. Supporting actors like Vittorio Gassman (as the villainous Anatole) and Herbert Lom (as a campy Napoleon) bring flair but lack the nuance required to elevate the material. The script’s poorly written dialogue—clunky and overly explanatory—further hampers the cast, forcing even talented performers into awkward moments.
The 1956 War and Peace’s decline into obscurity was sealed by the 1966–1967 Soviet adaptation directed by Sergei Bondarchuk. This four-part film, with its meticulous attention to historical detail, nuanced characterisation, and unflinching portrayal of war, overshadowed Vidor’s effort. Bondarchuk’s version, shot on location with an army of extras and groundbreaking special effects, captured the novel’s essence with a grandeur and emotional resonance its predecessor lacked. By contrast, Vidor’s film feels cramped and rushed, its budgetary excesses misplaced in poorly executed romantic subplots. The Soviet adaptation’s success cemented the notion that Tolstoy’s epic required the scope and patience of television—a format that allowed for deeper exploration of themes and characters. Subsequent adaptations, such as the 2007 miniseries directed by Robert Dornhelm, have embraced this structure, proving that Tolstoy’s work thrives in formats unburdened by cinematic brevity.
In hindsight, the 1956 War and Peace serves as a cautionary tale about the perils of shoehorning a literary masterpiece into a conventional Hollywood framework. Its reliance on spectacle over substance, muddled narrative focus, and uneven performances highlight the gulf between ambition and execution. While it boasts moments of visual splendour and boasts a star-studded cast, it ultimately fails to do justice to Tolstoy’s vision. The film’s legacy, however, lies not in its artistic merits but in its role as a stepping stone toward more successful adaptations—a reminder that some stories demand patience, depth, and a willingness to embrace their complexity rather than diluting them for mass appeal.
RATING: 4/10 (+)
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