“Poor Russia” Platonov says. Chekhov is relevant today.

When I lived in Moscow, I heard a talk on the play “The Mechanical Piano” by Oleg Tabakov based on a drama by Chekhov, written by that great Russian author at eighteen. It was apparently Chekhov’s first play, overly long, full of everything he ever dreamed to put into a play―crashing trains and dancing gypsies. When he brought it to the famous actress Maria Yermalova, she told him it was terrible. He burned it. He never even gave it a name, but it is commonly called “Platonov” after the main character. But a second copy of that play survived. It resurfaced, modified as a movie by Nikita Mikhalkov in 1977 – “An Unfinished Piece for a Mechanical Piano.” Three hours long and according to some Russians, one of the best films ever made. The story became the basis for a shorter stage play now also called, “The Mechanical Piano.”

The characters are typically Chekhovian. Platonov is a middle aged man with great aspirations and no education or family pedigree from which to launch his life’s direction. He is in love with a woman married to a young member of the intelligentsia, who has achieved nothing with his degrees and high connections and is mainly occupied with thinking about Russia.

The following Sunday I went to see the play and the next week coincidentally happened to see on television the 1977 movie directed by Nikita Mikhalkov. The most humorous part is when Platonov, despondent about life, attempts suicide by drowning himself in the river; not realizing the river was only three feet deep. He emerges soaking wet with his cream linen suit shrunken by two sizes. Failing even at suicide, he is now even more discouraged with life, and can only blame it on Russia. “Poor Russia,” he says.

I borrowed this hilarious episode for my book “The Lady with an Ostrich Feather Fan,” based on the story of the “Yusupov Rembrandts” now in The National Gallery of Art in Washington. The murder of Rasputin, by Prince Felix Yusupov and friends had humorous parallels to the Platonov scene when the chains to sink the victim’s body in the river were left behind. In my new book, the discovery scene in the Yusupov Palace is recognizably similar. This new historical novel is planned for 2011 publication.

Buy the book here  “Walking on Ice, An American Businessman in Russia”

“Grappling With Soviet Symbolism,” New York Times

In the May 15, 2010 edition of The New York Times, was an article by Andrei Zolotov, Jr. “Grappling With Soviet Symbolism. This paralleled well with the sentiments in my book  “Walking on Ice, An American Businessman in Russia.” So, I wrote a letter to the New York Times and they, surprisedly, answered at once telling me it was going to be published in the International Herald Tribune. I expect to see a copy of that soon. Here is what I wrote:

 “What a welcome account of the obvious change happening in Russia today. It has been happening, but slowly and often unnoticed by the press. Lenin said Russia progressed one step forward and one step back. I say today it is three steps forward and two back, but we must acknowledge that residual step and help build on it. Zolotov covered it all well. Indeed, it is often the “blink” of events that help turn the head and then the body in a new and better direction. The Smolensk fatal crash killing the Polish leadership on the anniversary of the Katyn massacre may well have been that unexpected moment that turned the Russian heads. In my seventeen years in Russian business, it has been so obvious that the country was inching toward a reality first foreseen by Peter the Great, now led by the world-conscious young as they lead Russia out of the historic dark past into the light of the new world.”

Buy the book here  “Walking on Ice, An American Businessman in Russia”