Michael Redgrave, who rarely played a happy man, plays the titular role of Uncle Vanya, though not necessarily the central role. He is one man within the estate in which the story is set. The old house of Vanya's sister, who is now deceased but left the house, an old maid daughter Sonya (Joan Plowright), and her husband the professor Serebryakov. The professor's visit being the catalyst in the story as he visits the estate with his new young wife Yelena (Rosemary Harris). Vanya is a role that is as unimportant as it is essential in terms of the state of being that defines Vanya. He is a middle aged man, an intelligent one, essentially without purpose within the rural estate. Redgrave's performance perhaps benefits from the pseudo cinematic form the most as so much of his performance are the moments of focusing on him, even when he turned away from whoever is speaking. Redgrave's initial approach is very much the success of his work entirely in realizing his Uncle Vanya. This is as he makes the man in this nearly comical tragic state of a man having had his life been wasted away, seemingly by circumstance. This is not drudgery to watch, as it could've been, as Redgrave tilts within that certain humorous overarching approach that is a rather fascinating one.
Redgrave was an expert at the discontent of life, giving an all-time great performance depicting that in The Browning Version, in portraying such a natural anxiety. This is the case here as Redgrave in a given scene just exudes this discomfort of one's state being. This as making Vanya a man who can find comfort in his own skin even given the discomfort he has had with his life. Redgrave's work again though is terrific because he does not make it this slog and adheres to the idea of Uncle Vanya, the play, is technically a comedy. This is not to say he exactly gives a comedic performance, but what Redgrave does makes sense of the character through this humorous approach. A darkly humorous approach however as Redgrave plays the part as though Vanya can't help but nearly laugh at the expense of himself at every given situation. Rather than cry, Redgrave is rather powerful in making such a painful smile as he just shakes his head at his existence again and again. There is a real pathos Redgrave finds with this, that he carries as almost Vanya's shield from completely breaking down into despair. This even as he declares his love for the young Yelena, Redgrave is heartbreaking as his delivery is inundated with self-deprecating scoffs and grins. This as Redgrave plays the moment quite effectively as one of self-defeat, knowing his attempt for the younger woman will fail, but tries anyway.
Now the two are of the same coin in that Astrov is very much in the same situation as Vanya. In that neither is happy in their place in life, and feel very much out of place within their setting for their existence. Olivier though shows that Astrov quite simply is not as burdened by this knowledge as Vanya is. He instead delivers the mention of their unfortunate circumstances with a blunt straight forward, "yes this is how it is", of a man whose basically made peace with it. Olivier though underlines this though with portraying the doctor as trying to enjoy what there can be found in his life as much as can be found. One of the ways is even within trolling Vanya a bit, as he basically makes fun of him from time to time, which Olivier portrays as biting though with a definite good nature, as his eyes subvert the words with an affectionate warmth. He conveys an empathy within Vanya's plight as he himself is experiencing it, though the way he can experience is taking those bits of joy, which includes pestering Vanya a bit. Olivier accentuates the different nature of this same existence particularly effectively when he also declares his love to Yelena, unfortunately while she was trying to see if the doctor was interested in the "said to be homely" Sonya. This as Olivier portrays this immediate energetic thrust towards the opportunity, attempting to woo her at the chance of something more, which contrasts effectively against the sabotage of Redgrave as Vanya.
Yelena mostly rejects Astrov as she did Vanya, and I love the bit of smug delight Olivier depicts in Astrov's minor victory he can hold over the bitter Vanya. The Vanya who gets worse before he gets better as the story goes on and Redgrave is great in depicting his own breaking point. This as not from denied opportunities, but rather the loss of even the existence he has when the professor suggests selling their home off. Redgrave's exceptional in the moment by finally making his self-deprecating laughs as unbearable, as they sweep away in his eyes towards an abject madness. This as he finally lashes out without hesitations, towards violent action, which Redgrave makes it natural by creating it as this breaking point where Vanya's humor no longer can save him. This leaving Vanya trying to literally kill the professor but failing in that too, therefore left just to sulk within his home again. Redgrave, though he only has a few lines, is great in his final scene by showing Vanya no longer with even that pained smile on his face. This as he attempts to attempt suicide, at least as an act of an attempt by stealing Astrov's morphine, where Redgrave is remarkable just in realizing the sad state of the man now directly living his depression. This again contrasting against Olivier as Astrov who blithely tells Vanya to give him back his morphine and go kill himself properly by shooting himself. Olivier's approach again effectively delivers a comedic bent to it, though in the moment he carefully still grants a genuine concern in the man's eyes for Vanya. Olivier though shows the alternative path as Astrov still is in the same state of existence, however Olivier exudes still just this sense of the simple joy of the little success he had with Yelena and life, though with its own pathos in his pitch perfect reaction as he sadly turns away from Sonya's romantic hopes before leaving the estate. Both Olivier and Redgrave do justice to their roles by finding an effortless tone that serves the material so well, as creating these barriers of comedy, from the tragedy within.
