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FIPRESCI prize. The movie has been compared both to Schindler's List and Saving Private Ryan , and it would not be surprising to learn that Steven Spielberg had screened it before making either of these.
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Come and See (1985) - IMDb
17/10/1985 · Come and See: Directed by Elem Klimov. With Aleksey Kravchenko, Olga Mironova, Liubomiras Laucevicius, Vladas Bagdonas. After finding an old rifle, a young boy joins the Soviet resistance movement against ruthless German forces and experiences the horrors of World War II.
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While some of the captured men including the commander and main collaborator plead for their lives and deflect blame, a young fanatical officer, an Obersturmführer , is unapologetic and vows they will carry out their genocidal mission. Kosach makes the collaborator douse the Germans with a can of petrol brought there by Flyora, but the disgusted crowd shoots them all before they can be set on fire. As the partisans leave, Flyora notices a framed portrait of Adolf Hitler in a puddle and proceeds to shoot it numerous times.
A title card informs: " Belorussian villages were destroyed, along with all their inhabitants"  alternate translation: " Belarusian villages were burnt to the ground with all their inhabitants". Klimov co-wrote the screenplay with Ales Adamovich , who fought with the Belarusian partisans as a teenager. According to the director's recollections, work on the film began in The 40th anniversary of the Great Victory was approaching.
I had been reading and rereading the book I Am from the Fiery Village , which consisted of the first-hand accounts of people who miraculously survived the horrors of the fascist genocide in Belorussia. Many of them were still alive then, and Belorussians managed to record some of their memories onto film. I will never forget the face and eyes of one peasant, and his quiet recollection about how his whole village had been herded into a church, and how just before they were about to be burned, an officer gave them the offer: "Whoever has no children can leave".
And he couldn't take it, he left, and left behind his wife and little kids And later, the drunk men surrounded them with sheepdogs and let the dogs tear the children to pieces. And then I thought: the world doesn't know about Khatyn! They know about Katyn , about the massacre of the Polish officers there. But they don't know about Belorussia. And I decided to make a film about this tragedy. I perfectly understood that the film would end up a harsh one.
I decided that the central role of the village lad Flyora would not be played by a professional actor, who upon immersion into a difficult role could have protected himself psychologically with his accumulated acting experience, technique and skill.
I wanted to find a simple boy fourteen years of age. And at the same time, we had to protect him from the stresses so that he wasn't left in the loony bin after filming was over, but was returned to his mother alive and healthy. Fortunately, with Aleksei Kravchenko, who played Flyora and who later became a good actor, everything went smoothly. I understood that this would be a very brutal film and that it was unlikely that people would be able to watch it.
I told this to my screenplay coauthor, the writer Ales Adamovich. But he replied: "Let them not watch it, then. This is something we must leave after us. As evidence of war, and as a plea for peace. Come and See was shot only on Belarusian soil. The events with the people, the peasants, actually happened as shown in the film. Even the language spoken in the film is Belarusian.
What was important was that all the events depicted in the film really did happen in Belarus. For eight years,  filming could not begin because the State Committee for Cinematography Goskino would not accept the screenplay, considering it too realistic, calling it propaganda for the "aesthetics of dirtiness" and "naturalism".
The only change became the name of the film itself, which was changed to Come and See from the original title, Kill Hitler   Elem Klimov also says this in the UK DVD release. The film was shot in chronological order over a period of nine months. In fact, a special Silber Interference Grease-Paint, alongside a thin layer of actual silver, was used to dye his hair.
This made it difficult to get his hair back to normal, so Kravchenko had to live with his hair like this for some time after shooting the film. To prepare the year-old Kravchenko for the role, Klimov called a hypnotist.
He could have landed in an insane asylum," Mr. Klimov said. Kravchenko was able to concentrate so intensely that it seemed as if he had hypnotized himself for the role"   with some autogenic training. To create the maximum sense of immediacy, realism , hyperrealism , and surrealism operate in equal measure,  Klimov and his cameraman Rodionov employed naturalistic colours, widescreen and lots of Steadicam shots; the film is full of extreme close-ups of faces, does not flinch from the unpleasant details of burnt flesh and bloodied corpses, and the guns were often loaded with live ammunition as opposed to blanks.
The extreme close-ups of actors staring into camera is a recurring motif. The original soundtrack is rhythmically amorphous music composed by Oleg Yanchenko.
The German military march "Old Comrades " is played as the German army begins its attack on the village. At the end of the film, the partisans walk through a winter woodland to the sound of Mozart 's Lacrimosa before the camera tilts towards the sky and the ending credits appear.
There's a curious scene here in a wood, the sun falling down through the leaves, when the soundtrack, which has been grim and mournful, suddenly breaks free into Mozart. And what does this signify? A fantasy, I believe, and not Florya's, who has probably never heard such music. The Mozart descends into the film like a deus ex machina , to lift us from its despair. We can accept it if we want, but it changes nothing.
It is like an ironic taunt. And when he had opened the fourth seal, I heard the voice of the fourth beast say, "Come and see! And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth. The film was released on 17 October ,   drawing In , the film received an official restoration overseen by Karen Shakhnazarov. It won the Venice Classics Award for Best Restored Film , and was also shown in several European independent cinemas again.
In the film was released on DVD in the United States by Kino Lorber. This release is currently out-of-print. The film became available on FilmStruck ,  the streaming service for the Criterion Collection from its opening on 1 November to its closing on 29 November , and from November on the new Criterion Channel service.
Initial reception was positive. Walter Goodman wrote for The New York Times that "The history is harrowing and the presentation is graphic Powerful material, powerfully rendered And though he draws a surprisingly vivid performance from his inexperienced teen lead, Klimov's prowess is his visual poetry, muscular and animistic, like compatriot Andrei Konchalovsky 's in his epic Siberiade.
The director has elicited an excellent performance from his central actor Kravchenko". According to Klimov, the film was so shocking for audiences, however, that ambulances were sometimes called in to take away particularly impressionable viewers, both in the Soviet Union and abroad. I travelled through all of Poland and Belarus, finally reaching Ukraine.
I will testify: everything that is told in this film is the truth. The film has since been widely acclaimed in the 21st century. In Daneet Steffens of Entertainment Weekly wrote that "Klimov alternates the horrors of war with occasional fairy tale-like images; together they imbue the film with an unapologetically disturbing quality that persists long after the credits roll. In , J. Hoberman of The Village Voice reviewed Come and See , writing the following: "Directed for baroque intensity, Come and See is a robust art film with aspirations to the visionary — not so much graphic as leisurely literal-minded in its representation of mass murder.
The movie has been compared both to Schindler's List and Saving Private Ryan , and it would not be surprising to learn that Steven Spielberg had screened it before making either of these.
The film's central atrocity is a barbaric circus of blaring music and barking dogs in which a squadron of drunken German soldiers round up and parade the peasants to their fiery doom In , Scott Tobias of The A. Club wrote that Klimov's "impressions are unforgettable: the screaming cacophony of a bombing run broken up by the faint sound of a Mozart fugue, a dark, arid field suddenly lit up by eerily beautiful orange flares, German troops appearing like ghosts out of the heavy morning fog.
A product of the glasnost era, Come and See is far from a patriotic memorial of Russia's hard-won victory. Instead, it's a chilling reminder of that victory's terrible costs. The film depicts brutality and is occasionally very realistic, but there's an overlay of muted nightmarish exaggeration I must not describe the famous sequence at the end. It must unfold as a surprise for you. It pretends to roll back history. You will see how. It is unutterably depressing, because history can never undo itself, and is with us forever.
Come and See appears on many lists of films considered the best. In , Come and See was placed at number 60 on Empire magazine's "The Greatest Movies of All Time" in An impressionist masterpiece and possibly the worst date movie ever.
The website's critics consensus reads, "As effectively anti-war as movies can be, Come and See is a harrowing odyssey through the worst that humanity is capable of, directed with bravura intensity by Elem Klimov. In , Klimov said, "I lost interest in making films Everything that was possible I felt I had already done.
Come and See was selected as the Soviet entry for the Best Foreign Language Film at the 58th Academy Awards , but was not accepted as a nominee.
From Wikipedia, the free encyclopedia. Ales Adamovich Elem Klimov. Aleksei Kravchenko Olga Mironova. Belarusfilm Mosfilm. Release date. Running time. British Board of Film Classification. Retrieved 29 May British Film Institute.
Retrieved 5 December Box Office Mojo. Retrieved 22 December Rotten Tomatoes. Fandango Media. Retrieved 18 July War and Film.
Islington : Reaktion Books. ISBN The Kings and the Pawns. Collaboration in Byelorussia during World War II. New York City: Berghahn Books. The stories of survivors from the burned villages were collected in the s by three Byelorussian writers, Ales' Adamovich, Janka Bryl' , and Vladimir Kolesnik and published as a book in Russian and Byelorussian under the title Ya iz ognennoj derevni See Adamovich et al.
Minsk , p. Retrieved 30 August Russian War Films. On the Cinema Front, Lawrence, Kansas : University Press of Kansas. The Calvert Journal. Retrieved 20 July Russia Beyond. Retrieved 7 July The Criterion Collection.
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