Moscow on the Hudson
(1984)
R | 115 mins | Comedy | 6 April 1984
Director:
Paul MazurskyWriters:
Paul Mazursky, Leon CapetanosProducer:
Paul MazurskyCinematographer:
Donald McAlpineEditor:
Richard HalseyProduction Designer:
Pato GuzmanProduction Company:
Columbia PicturesAccording to production notes in AMPAS library files, the story was inspired by filmmaker Paul Mazursky’s own family, who immigrated to the U.S. from Russia at the beginning of the twentieth century. Before completing the initial draft, Mazursky and co-writer Leon Capetanos researched and interviewed Russian immigrants in Los Angeles, CA, and New York City. They continued to polish the story by visiting the Russian cities of Kiev, Leningrad, and Moscow. Capetanos and Mazursky had previously collaborated on the script for Tempest (1982, see entry) and would later co-write Down and Out in Beverly Hills (1986, see entry) and Moon Over Parador (1988, see entry).
Principal photography began 11 Jul 1983 at Arriflex Studios in Munich, West Germany, which housed the set for “Vladimir Ivanoff's” Moscow apartment. After three days, the production relocated to the “Bergmanstrasse” backlot of Munich’s Bavaria Studios, where the streets and storefronts were transformed to look like Moscow in winter. The production also shot on location around Munich at Leopoldstrasse, Ludwigstrasse, Circus Kronen, and near the Marienplatz. Following four weeks of filming in Germany, cast and crew moved to New York City. Interior sets for Bloomingdale’s department store and “Vladimir’s” New York apartment were constructed at a studio in Harlem, and the production also visited the following New York locales: Brooklyn, Brighton Beach, Central Park, Greenwich Village, the Bowery, Times Square, Lincoln Center, and Bloomingdale’s department store.
In a 22 May 1984 NYT interview, Mazursky stated that he wanted to emphasize the ethnicity and diversity of New York’s population, and regarded the selection of background actors and minor speaking ...
According to production notes in AMPAS library files, the story was inspired by filmmaker Paul Mazursky’s own family, who immigrated to the U.S. from Russia at the beginning of the twentieth century. Before completing the initial draft, Mazursky and co-writer Leon Capetanos researched and interviewed Russian immigrants in Los Angeles, CA, and New York City. They continued to polish the story by visiting the Russian cities of Kiev, Leningrad, and Moscow. Capetanos and Mazursky had previously collaborated on the script for Tempest (1982, see entry) and would later co-write Down and Out in Beverly Hills (1986, see entry) and Moon Over Parador (1988, see entry).
Principal photography began 11 Jul 1983 at Arriflex Studios in Munich, West Germany, which housed the set for “Vladimir Ivanoff's” Moscow apartment. After three days, the production relocated to the “Bergmanstrasse” backlot of Munich’s Bavaria Studios, where the streets and storefronts were transformed to look like Moscow in winter. The production also shot on location around Munich at Leopoldstrasse, Ludwigstrasse, Circus Kronen, and near the Marienplatz. Following four weeks of filming in Germany, cast and crew moved to New York City. Interior sets for Bloomingdale’s department store and “Vladimir’s” New York apartment were constructed at a studio in Harlem, and the production also visited the following New York locales: Brooklyn, Brighton Beach, Central Park, Greenwich Village, the Bowery, Times Square, Lincoln Center, and Bloomingdale’s department store.
In a 22 May 1984 NYT interview, Mazursky stated that he wanted to emphasize the ethnicity and diversity of New York’s population, and regarded the selection of background actors and minor speaking roles as significant as the main cast. He compared certain scenes, such as the courtroom location, to filming a documentary. In the Moscow sequences, real Russian actors and extras, based in Munich, were cast as Russian-speaking characters. During the five months prior to filming, actor Robin Williams studied Russian and learned to play the saxophone. In the NYT interview, Mazursky also defended the film’s “patriotism,” which had been criticized by some viewers. “What I’m saying is, in America, it’s possible for immigrants to be integrated into society and have a life. That’s not true in other countries.”
According to a 10 Apr 1984 LAHExam article, the picture earned over $3.5 million during opening weekend on 618 screens.
As reported in a 24 Dec 1984 DV article, illustrator Saul Steinberg filed a federal lawsuit against Columbia Pictures, the film’s production and distribution company, claiming the print advertisement for Moscow on the Hudson copied “at least twenty-three specific features” of Steinberg’s 29 Mar 1976 New Yorker cover. The RCA Corporation and advertising agency Diener Hauser Bates were also named as defendants in the case. A 29 Jun 1987 DV article announced that a New York federal court decided in favor of Steinberg, finding that “even at first glance one can see the striking stylistic relationship between the posters.”
End credits include “Special Thanks To: Pat Scott and The New York Mayors Office for Motion Picture and Television Production; Bloomingdale’s; Lt. Jesse Peterman and The New York City Police Department; Dennis Wendling and The New York City Transit Authority.”
In the Soviet Union, musician Vladimir Ivanoff plays saxophone for the Moscow circus and is devoted to his family and friends, particularly his rascally grandfather. Meanwhile, Vladimir tolerates communist bureaucracy by waiting in long lines for toilet paper, sharing a crowded one-bedroom apartment, and placating KGB secret service agents. Before the circus troupe’s tour to New York City, Vladimir and his circus clown friend, Anatoly, practice speaking English. The outspoken Anatoly confides that he hates his life and wants to defect. Although Vladimir adores American jazz music, he claims he is content in the Soviet Union and warns his friend to be careful. Arriving in Manhattan, Vladimir is amazed by the diversity of people, the street musicians, and the colorful signage. Anatoly still plans to defect, but when an opportunity arises while shopping at Bloomingdale’s department store, he loses his nerve. Vladimir, however, makes a spontaneous decision and flees from his KGB handler, Boris. At Bloomingdale’s, he is befriended by Lucia Lombardo, a beautiful cosmetic clerk, and a security guard named Lionel Witherspoon, who invites the Russian to stay at his Harlem apartment. Although Vladimir has gained freedom, he left his saxophone on the tour bus and is unable to work as a musician. He encounters circumstances similar to those in Moscow, as he faces a bureaucratic immigration process and lives in a small apartment with Lionel’s family. In the meantime, he works a series of jobs as a dishwasher, hot dog vendor, taxicab driver, and chauffeur, while seeking advice from Cuban-American immigration attorney, Orlando Ramirez. He also begins a romance with Lucia, an Italian immigrant who ...
In the Soviet Union, musician Vladimir Ivanoff plays saxophone for the Moscow circus and is devoted to his family and friends, particularly his rascally grandfather. Meanwhile, Vladimir tolerates communist bureaucracy by waiting in long lines for toilet paper, sharing a crowded one-bedroom apartment, and placating KGB secret service agents. Before the circus troupe’s tour to New York City, Vladimir and his circus clown friend, Anatoly, practice speaking English. The outspoken Anatoly confides that he hates his life and wants to defect. Although Vladimir adores American jazz music, he claims he is content in the Soviet Union and warns his friend to be careful. Arriving in Manhattan, Vladimir is amazed by the diversity of people, the street musicians, and the colorful signage. Anatoly still plans to defect, but when an opportunity arises while shopping at Bloomingdale’s department store, he loses his nerve. Vladimir, however, makes a spontaneous decision and flees from his KGB handler, Boris. At Bloomingdale’s, he is befriended by Lucia Lombardo, a beautiful cosmetic clerk, and a security guard named Lionel Witherspoon, who invites the Russian to stay at his Harlem apartment. Although Vladimir has gained freedom, he left his saxophone on the tour bus and is unable to work as a musician. He encounters circumstances similar to those in Moscow, as he faces a bureaucratic immigration process and lives in a small apartment with Lionel’s family. In the meantime, he works a series of jobs as a dishwasher, hot dog vendor, taxicab driver, and chauffeur, while seeking advice from Cuban-American immigration attorney, Orlando Ramirez. He also begins a romance with Lucia, an Italian immigrant who aspires to be a sportscaster and is studying for her citizenship exam. After a while, Vladimir is able to afford a new saxophone and his own studio apartment in the East Village. During a party to celebrate Lucia becoming a U.S. citizen, Vladimir asks her to move in with him. However, she is unsure if she is ready for a serious relationship and rejects his offer. After the couple quarrels, Lionel takes Vladimir to a jazz club where he encourages the Russian to meet other women and arranges for him to play saxophone with the house band that night. Vladimir is disappointed in his performance and throws his saxophone in the trash, but Lionel retrieves the instrument and reminds Vladimir that white men cannot expect to play “soul” music in a few months. As Lucia continues to ignore him, Vladimir receives news that his beloved grandfather has passed away. Homesick and grieving, he visits a Russian nightclub, becomes intoxicated, and dances with his fellow countrymen. Returning to his apartment building, Vladimir is mugged in the hallway and expresses anger about America’s so-called “freedom.” Orlando Ramirez takes Vladimir to a diner where a fellow Russian and other immigrants remind him about the rights given to all human beings in the Declaration of Independence. Vladimir begins to feel more hopeful and arrives home to find Lucia waiting for him. The couple reconciles when Lucia declares that she misses him and would be proud to live with a fellow immigrant. The next time Vladimir writes to his Russian family, he mourns the death of his grandfather, but also shares the good news that he finally got a job playing saxophone at a nightclub. One day, he encounters his former KGB handler, Boris, who now works as a hot dog vendor. Boris could not go back to the Soviet Union after failing to prevent Vladimir’s defection and thanks him for giving him the opportunity to stay in the U.S.
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