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The Idiot (pre-reform Russian: Идіотъ; post-reform Russian: Идиот, romanized: Idiót) is a novel by the 19th-century Russian author Fyodor Dostoevsky. It was first published serially in the journal The Russian Messenger in 1868–69.
The Idiot was a 2018 Pulitzer Prize Finalist in Fiction. [6] According to the literary review aggregator Book Marks, the novel received mostly positive reviews from critics. [7] Writing for The New York Times, Dwight Garner describes how "Each paragraph is a small anthology of well-made observations."
The Idiot (Japanese: 白痴, Hepburn: Hakuchi) is a 1951 Japanese film directed by Akira Kurosawa from a screenplay co-written with Eijirō Hisaita . It is based on the 1869 novel The Idiot by Fyodor Dostoevsky. [3] The original 265-minute version of the film, faithful to the novel, has been long lost.
The Idiot (Russian: Идиот), is a 1959 Soviet film directed by Ivan Pyryev. It is based on Part 1 of the eponymous 1869 novel by Fyodor Dostoevsky ; Yury Yakovlev declined to play the title character in a sequel which was never made.
Prince Lev Nikolayevich Myshkin (pre-reform Russian: князь Левъ Николаевичъ Мышкинъ; post-reform Russian: князь Лев Николаевич Мышкин, romanized: knyazʹ Lev Nikoláyevich Mýshkin) is the main protagonist of Fyodor Dostoevsky's 1869 novel The Idiot.
The Idiot (Russian: Идиот, romanized: Idiot; Op.144, 1985), is a Russian-language opera by Mieczysław Weinberg after Fyodor Dostoyevsky's 1869 novel of the same name. [1] The piece was given its world premiere at the National Theatre Mannheim, on 9 May 2013, conducted by Thomas Sanderling, followed by a recording on Pan Classics.
The character Reznik is shown reading Dostoevsky's The Idiot early in the film. When Reznik is riding the "Route 666" attraction, one of the faux marquees reads Crime and Punishment. The number plate Reznik is reading from the red convertible (743 CRN) is the reverse of his Dodge (NRC 347).
Believed to be inspired by a passage from Fyodor Dostoyevsky's 1868–69 novel The Idiot, the film follows a donkey as he is given to various owners, most of whom treat him callously. Noted for Bresson's ascetic directorial style and regarded as a work of profound emotional effect, it is frequently listed as one of the greatest films of all time.