The film would have benefited from someone like Emil Jannings lending a touch of silent-era grandeur to the story, which centers on two somewhat conceited intellectuals who become entangled in the Franco-Russian war. The Czar finds himself needing help, with Napoleon pressing at his borders, and must depend on individuals such as the anxious and cowardly “Boris” – who is unmistakably Woody Allen, isn’t he? – to join his military. Boris proves about as helpful as the incorrect ammunition used during the Crimean conflict, but decides that eliminating the French commander would be a quick way to return home to his equally self-important relative, “Sonja” (Diane Keaton), and end the war. Meanwhile, Sonja is back in Russia playing games with her brother “Ivan” (Henri Czarniak), who has no interest in reciprocating her romantic feelings. She’s not letting his lack of enthusiasm prevent an unwanted marriage to “Boris,” though. His incompetence as a soldier just so happens to align with actual historical events, and when the French arrive in mostly deserted Moscow, he and Sonja have a chance to reconnect while avoiding gunfire – both literal and figurative – to carry out their murderous plan. Those who appreciate Tolstoy and/or Dostoevsky will recognize numerous parallels, even parodies, of their more serious works concerning revolution, extensive philosophical discussions, and unreturned affection, and for the most part, these allusions are barely disguised. It's also a straightforward comedy with hints of the risqué humor found in “Carry On” films, complete with some suggestive jokes, and the laughs come quickly amidst the fake blood and impressive costumes. As is typical of silly comedies, there’s an unexpected plot development that completely concludes this entertaining journey through history—or literature's version of it—and it's one of my favorite Woody Allen screenplays because it satirizes everything from religious belief to pretentiousness. It was genuinely amusing.

Source on TMDB