Beautifully crafted arias and duets weave The Tsar’s Bride, a thrilling drama filled with love, revenge, mysterious foreigners, poison, and murder. On the surface, it may seem to be no different from any famous Italian opera, but this epic also displays key elements of Russian history and culture, specifically the rule of its first tsar, Ivan the Terrible, and Russia’s Christian heritage. When Martha is first depicted with her friend, two ominous men adorned in all black appear and watch Martha with intent. At this time, Martha is one of the finalists in the tsar’s bride search, and I assume that the men are associated with him. The two men represent the pervasive and oppressive nature of Ivan’s rule. Even at moments that seem peaceful, there is an underlying element of fear due to the tsar’s erratic and violent actions towards his people. Additionally, when the tsar’s messenger declares that Martha has been chosen as his bride, his voice seems to echo throughout the room. This echo illustrates the threatening effect that Ivan had on his people. Though the words are not spoken by the tsar himself the echo effect reveals that they hold the same power and still instill fear into the hearts of the boyars. The last image of the film is an iconostasis, a strong Orthodox Christian symbol. This scene identifies religion as a key contributor to early Rus culture. It also serves as a reminder that God was present as the characters sinned throughout the play.  While Ivan was terrorizing his ‘enemies’ in the present, in the end, it is God’s judgement that the characters must face. 

Even though I was amazed by the film’s ability to portray Russian culture, I still enjoyed the more Shakespearean lines. My heart ached when Grigory stabs Liubasha, and she poetically utters, “You got me in the heart.”