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Each of Dostojevsky's novels involves excellent, consistent drama, fascinating intrigue, a wealth of varied emotions. It would seem that nothing need be done but to extract and film it. And that has been done - with predictable results. Why? Because all Dostojevsky's intrigues, passions and characters live double lives: a life of reality, and a life of ideas. This literature, so firmly rooted in actual facts and urgent issues of its era, so physical as to be brutal, so real as to be vulgar, is saturated with thoughts, ideas and reflections about the world, God, religion, society, the human condition, the human soul (...) surely, any ambitious director dreams of filming Dostojevsky. But film potential is not the same as the potential of literature. Or perhaps we are all blinded by the arrogance of technology? (...) If we are not to betray and trivialise Dostojevsky, we will have to film also his philosophy, his metaphysics, his ethics. (...)
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