A Peerless ‘War and Peace’ Film Is Restored to Its Former Glory It is no exaggeration to say that Sergei Bondarchuk’s 1960s adaptation of the Leo Tolstoy novel “War and Peace” is a singular feat of filmmaking that can never be repeated. If it were, a director would have to match the resources at Bondarchuk’s disposal — a virtually unlimited budget, props from Russia’s great museums, thousands of extras from the Soviet army — and engineer sprawling battle sequences using no computer-generated effects. The extraordinary support behind “War and Peace” is apparent in every lavish frame of its seven-plus hours, and it is staggering to witness — even more so in the new, meticulously assembled digital restoration opening Friday at Film Society of Lincoln Center...There’s a reason Lincoln Center is showing it only in Walter Reade Theater, its largest. “If any film deserves to be seen on a big screen, it’s this,” said Curtis Tsui, a producer with Criterion. “There is no substitute for that.” The film is not entirely epic spectacle. Tolstoy was a master of juxtaposition, and his novel oscillates between the ugliness of battle and the blissful ignorance of aristocracy. Bondarchuk operates in much the same way: Gunfire can segue abruptly to domestic drama. “Every shot seemed expansive and titanic almost, but then it would balance that with intimacy,” Tsui said. In these moments, Bondarchuk’s cinematic curiosity shines. Natasha’s romantic delirium is rendered in jarring cuts and tinkling sounds. Filters and fishbowl lenses show hunting from the perspective of a wolf. Andrei’s spiritual awakening unfolds with a visual poetry that prefigures Terrence Malick. “The film has undergone a real renaissance,” Denise Youngblood said.