come and see what happened to glasha

The movie starts in the realm of absurdist farce, evolves into absurdist nightmare, and finally lands in an out-and-out apocalypse. He nearly gets crushed in the collapse of civic and military order as Nazi death squads scorch the earth. The sound becomes muted, and there is a faint ringing, which makes the reality of sound frustratingly out of reach for him. The furrows on his brow harden into ridges. Here we see realistic incidents pushed to the brink of expressionism. Parents and children, old people and infants, are all packed in.

Glasha (Olga Mironova), innocent and warm, dreams of her future. Co-writer Ales Adamovich drew directly on his teen experiences in a Soviet Belorussian partisan unit in 1942 and 43. There is nobody there, furniture is upturned, but it seems they've just left. It is believed that war films do not succeed at being anti-war because their craft as a medium fails to convey the horror that is war. He cant tell whether a pretty sometime nurse named Glasha (Olga Mironova) mocks him as she strews flowers on his semi-naked body in the giant pot. He and his family fought with the partisans and witnessed the genocide perpetrated by the Nazis on Belarussian soil. Klimov added that his film was shot in Byelorussia (now known as Belarus) near where the events took place, and that he used no professional actors. Klimov juxtaposes tight shots of the anguished mom with Flyoras idiot grin. Because of this, scenes shot in naturally darker locations, like in the forests, were captured with a faster-than-normal film stock. Shot entirely in natural lighting, the films screenplay writer Ales Adamovich influences the character of Flyora as Adamovich was the same age as Flyora when his family fought alongside the partisans in World War II. Flyora needs a gun to become the resistance fighter of his dreams.

The principal Nazi monster in the film, S.S. Major Sturmbannfuhrer, is a suave, heartless beast not a million miles distant from Tarantino's Col. Hans Landa. And I was little. At the end he says, Many years have passed . The film begins with an ambiguous scene, as a man calls out commands to invisible others on a beach. The movies plot is not an isolated incident it happened thousands and thousands of times over several years in Belarus. One particularly creepy element thats rarely talked about is the Nazi spy-plane that pops up from time to time.

This 1985 film from Russia is one of the most devastating films ever about anything, and in it, the survivors must envy the dead. He is still young. If using any of Russia Beyond's content, partly or in full, always provide an active hyperlink to the original material. Director, Elem Klimov, shot Come and See in chronological order over a nine-month period. When the partisans surround a clutch of German war criminals who have burned entire communities alive, the key question becomes: will the Soviets torture them or summon an ounce of mercy? Kravchenkos expressive features invite us into his head and into his soul. He takes a fresh angle on the action. She wields an axe and asks him to kill her and his kid twin sisters, too, considering how helpless they will be if Flyora goes away. After a nightmarish bombing scene, the main character, Florya, is deafened. While Glasha and Flyora fail to locate his family or any of the villagers, what Glasha discovers is a pile of dead bodies behind the village.

Of all the shocking scenes in Come and See, the one that strains credulity the most is the horrifying church burning sequence. What makes Come and See stand out is how brilliantly and empathetically Klimov uses facts to fuel his imagination of disaster. Flyora performs menial jobs like scrubbing a cauldron from the inside. As he's shoved in as part of the seething crowd, Florya's eyes never leave the windows high above the floor. Soon Flyora loses companions to minefields as they sneak up to an occupied village and manage to steal a cow for food. In Come and See no such sequence or shot exists that will want you to take a piece of that world for your minds souvenir. Come and See compels an audience to evaluate its characters morality according to what they wont do. No one would ever make the mistake of saying that about Elem Klimov's "Come and See." Featured image: A still from Come and See. They bruise his face, dump him in a cart with an anonymous, German-speaking man, and rattle deep into the forest. A goofy cameraman sports a Hitler/Chaplin moustache when assembling troops for a group photo, then removes it as he jumps into the picture. The first being that it always pops up whenever something bad is about to happen, almost certainly like a bad omen for the characters. A bombing and paratrooper raid on Kosachs camp leaves an enemy hanging from nearby limbs and sends Flyora and Glasha fleeing to his village, where the scope of Nazi barbarism comes into scabrous focus. . Beyond these virtuoso techniques, Klimovs dramatic vitality, his control of shifting tones, and his mastery of surprise are what galvanize Come and See. There is a sustained sequence as they methodically round up all the villagers and lock them into a barn. Such a departure from his point of view doesn't let us off easy.

We know exactly when hes wondering, What has become of this world? He ricochets from one crisis to another as enemy planes patrol the sky and German forces wage total war across the countryside, annihilating whole villages and populations. The director intensifies our connection with the awkward teen as he stumbles through a makeshift partisan camp where discipline is erratic and the guest of honor is a cow bound for slaughter. Soon Klimov ushers us inside Flyoras home, as the lad sits, rifle by his side, and smiles stupidly at his distraught mother. It is also one of the most horrifying and difficult movies about World War II which will haunt you for a long time. Flyora enters the film a juvenile patriot, eager for the fight. We use cookies to ensure that we give you the best experience on our website. Some People Treat Disney as Sacred. The two girls are meanwhile baffled by her impassioned behavior, their bewilderment alleviated somewhat by a wink and a smile Florya sends their direction. A fantasy, I believe, and not Florya's, who has probably never heard such music. The credits roll as these buddies saunter down a hill toward drift-filled trenches containing Soviet rifles. The moviemakers visual scheme has been called subjectivelinked to Flyoras perspective, onlybut it actually assumes his point of view and other characters in turn. On top of that, for the rest of Come and See, the audio quality drops helping us enter the horrifying world on screen.

Perhaps this. Later Florya finds himself in a village as Nazi occupiers arrive. Escaping the camp, Glasha and Flyora go to Flyoras village to look for his family. She pleads hysterically for Florya to simply kill the three of them with an ax; he might as well, she reasons, theyre as good as dead anyway. Klimov and his cinematographer, Aleksei Rodionov, employ Steadicam not for smooth, mesmerizing effects but to trace jagged arcs in the irrational movements of panicked Belorussians and of Nazis staging genocide. And what did He think? Come and see. It comes from the Book of Revelation: And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see.' You will see how. What follows isnt just total war, but a debauch for sadists. We will fulfill, set on fire with dozens of screaming people (men, women, children and elderly), The seemingly jet black appearance doesnt help, it always gives off the feeling that Flyora is being watched constantly and as if its stalking him, Glashas face quickly turns to horror as she and the audience realize whats happening, Starting with a small one which serves also as, Glasha, though she's really beautiful, manages to get very creepy at some points. In this hour of rabid political sport, everyone should watch Come and See in a single sitting. In a scene that could be a jet-black parody of a frontier Western, Roubej and Flyora appropriate a collaborators cow and try to lead it to the starving peasants in the marsh. The disturbing sequence of the villagers making a scarecrow with a skull (probably from a dead Nazi) and a stolen Wehrmacht uniform as a life-size clay model of Hitler. He could have landed in an insane asylum.. In a fit of symbolic revenge and superstition or insanity, Roubej helps create a Hitler effigy, then carries it along when he, Flyora, and two others venture forth on a food raid. Flyora intends to demonstrate his courage. TVTropes is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Come and See is available on YouTube with English subtitles. Michael Sragowis a contributing editor toFilm Commentand writes its Deep Focus column. It is possible that Florya survives because he is so manifestly powerless. As Klimov said in an interview (available on YouTube), [Kravchenkos acting] could have had a very sad ending. Who is he calling to? His mother and young sisters are dead. One would like to think the depiction of the Nazis is exaggerated, but no. The heros circular travels bring him back to where he started, and Klimov, with a string of stinging closeups, delivers an existential twist on classic odysseys. The restoration of Come and See (1985), Elem Klimovs unblinking depiction of Nazi armies wreaking carnage on Soviet Belorussia in 1943, enables us to view this disturbing, mesmerizing epic with fresh eyes as it turns Klimovs lens into a burning glass. by Sarah Welch-Larson, The Film That Changed Harrison Ford's Career: On the 20th Anniversary of K-19: The Widowmaker. Director, Elem Klimov, tried to have a psychotherapist hypnotize Kravchenko before the most violent scenes in Come and See. . It must unfold as a surprise for you. Ali Kirmani is a film creative based out of Mumbai. With this choice, Flyora affirms the existence of his conscience. One explosion after another craters the earth, like consecutive shots from a gigantic cannonand just like that, Flyoras and Roubejs mates are gone, victims of land mines. Now I want to ask: Did God watch this? The fathers stay with their families. (We eventually understand that hes worried about the SS observing these young smart alecks.) Florya is not articulate and may be mentally slow, but he is touched. It is the quality of truth that makes it a one-of-a-kind film a war film of the horror genre. When you watch Come and See, put these statistics into perspective. Unearthing the paraphernalia of wars remnantshelmets, radios, other discarded portents of recent deaththe youth also mimic the crude language of an older individual, Floryas uncle. From the moment Flyora sets foot in his moms now-empty house and finds her soup-pot still warm, we enter a narrative domain that mixes facts with mythic storytelling. They rape and loot under orders and on a timetable. Come and See is often considered to be the best war movie of all time and is for sure the most popular Soviet movie in the world. Get the week's best stories straight to your inbox. The child is thrown back and the woman is dragged away to be gangraped. That brief expression of levity, as it often is in, Florya is not alone in his apparent discordance, though. They're only seen for a shot that lasts about a second and cuts abruptly. It is like an ironic taunt. Click here to find out more. . (Yes.) In Alexievichs Lost Witnesses, a grown man who was grade-school age during the war says, at the beginning of his testimony, I saw what shouldnt be seen . According to Russian historian Vadim Erlikmans book, Poteri narodonaseleniia v XX veke ( XX , or Population loss in the XX century), Belarus lost 25% of its total population during the war, and mostly from civilian deaths. Terrifying as this movie is, we always want to know what happens nextpartly because we hope what happens next will explain what happened before. As they escape across an open field, his companion and the cow are shot and killed by a German machine gun. Klimov uses sound and image to frame the movie in unorthodox ways, drawing us ever deeper into Flyoras harrowing coming of ageor, rather, his leapfrog over adolescence. The soundtrack achieves a crackling, nerve-shattering realism during the razing of a village, only to stabilize for a climactic epiphany. Originally called Kill Hitler, this film ranks with Kon Ichikawas Fires on the Plain as a World War II nightmare of humanity pushed beyond its limits. It's revealed that he's calling out to children who have concealed themselves among the reeds. Aleksei Kravchenko, 14 at the start of production, plays Flyora, a green recruit to a ragtag bunch of rural Soviet partisans. In this fleeting moment of innocent enthusiasm, a preliminary indication of the innocence soon lost and irrevocably shattered, the two are excited by the possibilities of potential engagement. He is almost studious in his murderous commands. That bleak bible passage ends with the line: For the great day of his wrath is come; and who shall be able to stand? (Revelation 6:17 KJV). However, not everyone realizes that the worst hit Soviet republic in percentage terms was Belarus. After they trap the population in a locked church, they announce that anyone willing to leave the children inside can crawl out through a window and go free. Also, how the meaning of one powerful scene is found in subsequent scenes will give the finest of content today a lesson or two in film editing. Klimov and Adamovichs script delivers a structured vision of chaos without losing the sense of anarchy that makes the finished movie feel so true. 5 new Russian WWII movies that could blow up the box office. This is based on opinion. Glasha!. From the random, unremitting raising of settlements to the effectively implied depiction of rape (a bleeding, nearly catatonic young woman who bears a strong resemblance to Glasha), the images and words of Nazi cruelty are intensely prevalent. Enemy at the Gates - How accurately was the Battle of Stalingrad portrayed in the film? First there's something unsettling in the closeup of her face which often shows a, Then there's the scene in the woods where she dances a Lyubov Orlova song to Flyora that manages to be rather creepy if you watch her expressions and listen at the. This film is much more than an allegory. That we cannot accept a film that leaves us with no hope? Only then does Flyora stop and begin to cry. As an intertitle at the end of Come and See shares, 628 Belorussian villages were burnt to the ground with all their inhabitants.. They are playing games of war, and digging in the sand for weapons concealed or lost during some earlier conflict. They grow friendly. The film only revisits the chapter with a tender heart and detailed eye. And the scene where machine gun fire takes down a cow that really happened. In fact, special Silber Interference Grease-Paint, alongside a thin layer of actual silver, was used to dye his hair. Living up to the newfound powers of Gorbachevs Glasnost, the director shot this sequence and all sequences using live ammunition to bring to the audiences psyche, the surreal truth of war, free from years of state control. Flyoras outsize humiliation melds with the loony poignancy of Glasha, who loves Kosach and fears hell be slain by the Nazis. The only film Elim Klimov ever directed, Come and See has become exponentially important with every passing decade. For the previous 142 minutes, were too viscerally caught up in Flyoras angst to assess Kravchenkos artistry. All he sees is horror, and all he doesn't see is horror, too. Janus Films press notes state that Klimov tried to hypnotize Kravchenko during the most devastating sequences, so he wouldnt remember them. Klimov didnt succeed, but Kravchenko does: he hypnotizes us. It does so by bringing heroism in close proximity to horror and then letting the audience evaluate. He does not shoot her; indeed, he never shoots anybody. He was worried that these dreadful experiences would addle his young mind. Among the exemplars of hardened masculine demeanor, he glimpses the gentle softness of Glasha (Olga Mironova), a young woman, apparently the lover of partisan commander Kosach (Liubomiras Lauceviius), who hovers around the troop. He wants to leave home and volunteer. He and the cow are in a field obscured by a thick fog when machine-gun fire breaks out from where, he cannot tell. Book Excerpt: What Nehrus Stance on Muslims Returning from Pakistan Tells Us, Hurdang: A Production of Hatred Against the Caste-Based Reservation System, For Soviet Filmmakers, There Was No Glory in War, Spencer: How Diana Became the Popular Culture Princess. While its perhaps less graphic than one might expect, compared to the gory palette of viscera that has become commonplace in modern war-related cinema, Klimov holds little back in terms of an equally affecting representation of wars traumatic corollaries. This is when Flyora notices a framed portrait of Adolf Hitler in a puddle. It pretends to roll back history. Often considered to be the only real anti-war movie in all of cinema, Come and See,is centred on the Nazi German occupation of Belarus during World War II, and the events which are witnessed by a young Belarusian teenager called Flyora, who against his mothers wishes, partakes in the Belarusian resistance movement, and thereafter witnesses the human condition of war. This gritty quality of the film pairs well with the grim subject matter it covers. An SS brigade, with the help of local collaborators, rounds up an entire village into a church and burns them alive. Here, the craft of director Klimov rises in one of the most important conflict scenes ever. The meaning of it becomes clear when after several scenes, a woman crawls out with her child. If you havent yet watched the movie, you absolutely must (watch Come and See here on Russian Film Hub). Come and See discusses the lies of heroism like no other movie. While Steven Spielberg is a rare exception who sees all war films as anti-war, a majority of film doyens such as Franois Truffaut have held that every war film is inadvertently a pro-war film. Accompanied by a younger friend, Belarusian teenager Florya digs through the sandy trenches that now pepper his native land. Florya scrambles out a window and watches as the Nazis burn down the barn, its locked double doors heaving from the desperation inside. At first he is eager to do a good job; posted as a sentry, told to fire on anyone who doesn't know the password, he challenges a girl scarcely older than he is. He locates Hell in the soul-shriveling anger and despair that settle in its teenage survivors face over the course of a depravity-packed few days. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. The Germans transform Perekhody into a circle of Hell, setting every building ablaze and exulting in each cry for help. Comparing Kravchenkos appearance from start to end of the film reflects what he went through. The innovative sound design filters the audio partly through Flyoras damaged ears and psychewe experience his industrial-strength tinnitus after a bombing raidand partly through the directors sensibilitywe faintly hear a Strauss waltz as Flyora barely keeps his footing in a swamp. This is a horrifying scene, avoiding facile cutaways and simply standing back and regarding. The director creates a scary sort of intrigue: How are we to take these opaque or incongruous activities? Klimovs boyhood memories of the Battle of Stalingrad and his evacuation from the city informed this audacious film. Its scary for three big reasons. The game gets even more frightening when two partisan mobilizers, one sporting a discarded German helmet and gorget, aim to mislead any spying Nazi eyes by pretending to force Flyora to go with them. When the unruly lad walks into a head shot, we see hes talking to Flyora, crouching hidden in the shrubbery. Adamovichs fusion of oral history and sweeping chronicle heavily influenced the work of Svetlana Alexievich, who won the Nobel Prize in 2015 and in 1985 published Last Witnesses: An Oral History of the Children of World War II, based largely on the accounts of boys and girls from this same area. We can accept it if we want, but it changes nothing. Based on the Dirlewanger Brigade, an SS outfit made up of violent criminals, these occupiers dont merely visit pain and grief upon the townspeoplethey seek to tear away any scrap of dignity or moral worth. He contributes oncinema and culture to the EPW, The Citizen and Indian Express. What a man shouldnt see. Moreover, assigned a starvation diet for the latter parts of the film, Kravchenko really did become skin-and-bones. He is a member of the National Society of Film Critics and the Los Angeles Film Critics Association.

Klimovs disconcerting art combines mystery and charged confrontations: he thrusts us into action that unfolds at fever pitch and compels us to get our bearings along with Flyora. A pot of soup is still warm. In 1975, he won the Pulitzer Prize for distinguished criticism. Suffering, not combat, defines Flyora as a person and a soldier. Permissions beyond the scope of this license may be available from Fantasia 2022: Polaris, The Elderly, All Jacked Up and Full of Worms, Bright Wall/Dark Room July 2022: Bad Times at the El Royale: You Think I Cant See You for Who You Really Are? Flyora, now traveling alone, gets the dubious protection of villagers who dont realize theyre next on the Germans to-kill list. Flyora keeps shooting and undoing the damage, taking us through Hitlers life in reverse. It is remarkably documented that after watching Full Metal Jacket (1987) a young audience came out of the theatre enticed by the idea of war. It is 1943, Hitler's troops are invading the Soviet republic of Byelorussia, and Florya (Aleksey Kravchenko) dreams of becoming a heroic partisan and defending his homeland. As he begins to shoot the portrait, each bullet fired causes a rollback to take place in the damage done by Hitler. He doesn't see everything. 12 true-to-life films about the Eastern Front during World War II. Kravchenko begins Come and See as a youthful, healthy boy. At times, they flew just above the heads of actors, making their terrified looks genuine. He zeroes in on a sad, horrific sight, like the burned face, neck and shoulders of the village elder, just when we expect him to avert his eyes. Yustin, the old man at the start, is doused in petrol and, Many close-ups show us Flyora's metamorphosis from a nave young boy to a. Come and see fits the movies evocation of a mute divinity beyond each earthly frame. The next morning, Flyora hides with a family as SS troops arrive. Is it true that audiences demand some kind of release or catharsis? This decision to refrain from shooting would have made that first title, Kill Hitler, ironic. In doing so,he is spotted by a reconnaissance aircraft. The swamp that Florya and Glasha wade through, for example, has a thick gelatinous top layer that seems like a living, malevolent skin.