Clevercell Very disappointing...

Marketic It's no definitive masterpiece but it's damn close.

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Neive Bellamy Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Spuzzlightyear The Country Life is what I consider to be a pretty run-in-the-mill rich-people-go-into-the-country-and- the=country-folk-teach-them-a-lesson type of movie. Michael Blakemore and Greta Scaachi play two upper crust British folk who set foot in the beautiful Australian countryside to visit his relations that he hasn't seen forever. He's acquired much success in the city, something not lost on the country folk. However, just like me, when the spoiled rich people go into the country, it's not quite the same lifestyle. Soon, they try to change the whole house upside down, and even getting to the point where they want to sell it. The country folk, needless to say, are not amused. The plot in this is rather predictable, sort of like City Slickers meets Gosford Park. Everyone seems to have a high upper nose about the whole thing, and I HATE movies like that. The acting for this is pretty good, Michael Blakemore and Greta Scaachi are good as the city couple, and Kerry Fox and John Hargreaves (doing a damned good Eric Idle impersonation) are all pretty good. Sam Neill's character, though a necessity in the plot, I feel is somewhat needless here.Oh, and for those of you wondering, no, Blur's 'Country House' is not in the movie.

Wolfi-10 Uncle Vanja in the Australian outback with a perfect rendering of the characters; engrossing, entertaining, and the sad ending as well. I voted it a "10". It looks like Hollywood could learn a lot from Australia.

jandesimpson The first thing to do if one is to derive any pleasure from "Country "Life" is to forget Chekhov. Admittedly the film carries a disclaimer insofar as it is only "Suggested by Uncle Vanya", but having said this it is even more remote from Chekhov that Nikita Mikhalkov's "Unfinished Piece for Mechanical Piano" which carries a similar disclaimer "Themes from the works of...". This aside, "Country Life" is an agreeable piece of period soap set just after the end of the First World War with pretty visuals of New South Wales's Hunter Valley. Like "Uncle Vanya" it tells of the disruptive visit of a pretentious elderly professor-type and his attractive young second wife to the relatives of his deceased first wife living in a rundown country estate. There all resemblance ceases. Chekhov had a genius for taking a group of characters and exploring each one with equal depth so that even the eponymous Uncle Vanya is but one of several equally fascinating characters. In "Country Life" the focus of attention is placed on the elderly pedant, not unsurprisingly played by the director himself, Michael Blakemore. Would it be cynical therefore to suggest that the film becomes something of an ego trip! The rest, even the Uncle Vanya figure, are curiously colourless by comparison except for that 1940's glamour girl, Googie Withers, still going strong one is glad to see, who turns up as an elderly, domineering and tetchy family cook and almost steals the show. I cannot quite see why the film was made but at least it is harmlessly entertaining. For the real thing I went back to Stuart Burge's filmed adaptation of the Laurence Olivier 1963 Chichester Festival production of Vanya: sans very much in the way of scenery, sans music, apart from a bit of on-stage guitar stuff, monochrome and sans very much in the way of interesting camerawork and visuals, but with Laurence Olivier, Michael Redgrave, Joan Plowright, Rosemary Harris, Max Adrian, Sybil Thorndike and Lewis Casson, a cast to dream of in as powerful a piece of filmed theatre as one is likely to find anywhere.

BurnKnee Usually, I dislike plays adapted to a place & time other than those the author intended. Country Life (the title is from Chekhov's subtitle for Uncle Vanya, Scenes from Country Life) is a rare exception. Placed in the Australian outback in the 1920s, aspects of the play, such as the old man's writings (here, trashy theatre criticism, some of which is quoted) are as worthless as his academic treatises in the play; veneration for London (true in much of Oz, even today) makes clearer the play's characters' veneration for Moscow; etc. Blakemore, a fine stage director, knows his Chekhov, knows how to get the most of his actors (all of whom are excellent) and, to my happy surprise, knows how to make a sparkling, engrossing film from a play by Chekhov, which is very difficult (Mikhalkov is the only other one who has done it, in An Unfinished Piece for Player Piano). A thoroughly delight