Nikolay Cherkasov delivers a remarkable performance within this imagined biographical account of the notorious Tsar of all the Russias. Crafted near the conclusion of World War II, Sergei Eisenstein constructs an impressive portrayal demonstrating how this frequently brutal, yet surprisingly astute and intelligent 16th-century ruler secured and maintained his position despite schemes and betrayals from nearly every corner – his court, his populace, his aristocracy—essentially everyone. The film’s purpose is revealed in a manner reminiscent of Stalinist propaganda: to unify the Russian people and shield them from external forces aiming to suppress their liberties. Anti-Nazi messaging takes a prominent and forceful position. This constitutes an exceptional historical saga characterized by meticulous detail, innovative photographic approaches, and a strong ensemble cast embodying allies and adversaries, all contributing to a compelling, occasionally quite stifling, depiction of a nation and government perpetually on the verge of collapse. Lyudmila Tselikovskaya is also excellent as the scheming Tsarina Anastasia, as is Serafima Birman in the role of his even more treacherous aunt Efrosinia, who harbors ambitions for her own son Vladimir to ascend the throne—a character who seems to embody the concept of hereditary degeneration noted by Josef von Sternberg in "The Scarlett Empress," which came out a decade prior. The film occasionally adopts the aesthetic qualities of a silent movie; the lighting and set design, along with intense focus on facial expressions, combined with Prokofiev's stirring musical score communicate far more than any spoken words ever could. It’s difficult to imagine a better cinematic exploration of the pursuit of power, indulgence, and mental fragility—and I thoroughly enjoyed it.

Source on TMDB