No one would ever make the mistake of saying that about Elem Klimov's "Come and See." Kravenchenko’s ability to present a tortured countenance is exemplary and when his hair is clumsily shorn in the manner of the concentration camp, the suggestion of dehumanisation is even more acute. One of the more notorious stories surrounding the film concerns the fact that Klimov employed methods of hypnosis on his lead actor in order to protect him from the considerable psychological demands of his role. The camera then pans to the disgusted yet somehow composed faces of the partisans, relatives of those recently murdered, their guns levelled at the butchers. In steps a weary dust-caked German officer, who after a rapid survey of the situation, meets the wary elder with a falsely pleasant and most chilling exchange of ‘Sprechen Sie Deutsch?’ The villager smiles hopefully as the SS man sits himself down at the table to dine. It is not merely a narrative reimagining of that experience. This video is unavailable. When the Russian director Elem Klimov died in 2003, he left behind a modest but highly respected body of work often imbued with visionary qualities. Menu. Klimov, who was born in Stalingrad in 1933 and evacuated that city with his family in 1942—at the start of the notorious Battle of Stalingrad—knows the Eastern European experience of Nazi occupation firsthand. A number of these were at various stages of development in the years immediately after Come and See. Vanity Fair may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. This perceived weakness nagged at Klimov, leaving him with a sense of which he needed to resolve. However, Kravchenko later attested to the fact that in certain harrowing scenes such as the burning of the church he genuinely feared for his sanity. Nazi atrocities take center stage in Elem Klimov’s unflinching, recently restored masterpiece. We too have ‘seen’ but Florya racing on ahead has not because he did not happen to turn around. Now the people are herded towards the square by a motley crew of SS and local fascist militia. A version of the Bulgakov novel The Master and Margharita seemed an ideal prospect, whilst another strong contender was a version of Dostoyevsky’s The Devils. You see it on his face by the end of the film—well before the end, actually, which is what upsets the easy through-line other directors would have wanted to draw in a film like this. Soon, the boy is conscripted into the partisan forces and launched, like a damned man supplicated to a foregone fate, into an encounter with unthinkable evil. Real bullets were used in such scenes for authenticity and the images of tracer rounds shooting across the sky is both beautiful and cataclysmic. When morning comes we have another element which encourages a sense of disorientation and mounting insecurity, fog. As the sun rises and the fog clears, the whole body of German troops arrives in the village heading for the main square where the forlorn wooden church at its centre is soon surrounded. Other soldiers then appear, they look for partisans under the table, make jokes, one smashes a window, the tension rises. I’ve seen the film more than once, and I still can’t accurately sum up its impact in terms of what I’ve “learned” from it, though Come and See has taught me very much: it has defined my sense of what Nazi occupation felt like in the realms other movies have tended to ignore. The movie was a hit in its time for Soviet audiences, commemorating, as it did, the 40th anniversary of Soviet victory in World War II—a convergence of film and history that would not have played out so neatly if Klimov had been able to make the movie eight years prior, as he intended. You can sum it up in an image: a boarded-up farmhouse full of living, screaming people, barraged with Nazi bullets and set aflame. Klimov, son of devout communists and child of the war, who had endured a harrowing passage with his mother across the Volga during the inferno of Stalingrad, was looking for a vehicle in which to depict the inferno he had witnessed first hand. Klimov was hardly the first survivor of WWII to make a film about it. This easy to use teacher-friendly material has been written by a group of experienced diocesan advisors. As Glasha catches up with him, breathless with her terrible secret there is no time to dispense it as they are now wading waist deep across a mud-encrusted bog to an island refuge. touring through major U.S. cities through July. You will want to turn away from this hell. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. This film endures because it obscures nothing. They peel off symmetrically from the fog bound vehicle in a silence loaded with menacing intent. Though intimately concerned with atrocity, Come and See also contains scenes of rare tenderness and beauty, whose enigmatic quality has been somewhat obscured by the more obvious primary carnage. But these are peculiar words to apply to Klimov’s film, in which that innocence—the cocksure smile of a kid ignoring the warnings of the adults of the room—feels grotesque from the start. As Florya is hurried away by a farmer and quickly awarded a new identity as his nephew, natural precautions which we will find out are utterly futile, the German units calmly and systematically launch their dawn assault on the village. The Stork had a walk on prior to this and appears again almost unnoticed at the edge of the well in whose dark perfectly still surface we see Florya’s face reflected, until it is ominously obliterated by the impact of a drop of water. It's said that you can't make an effective anti-war film because war by its nature is exciting, and the end of the film belongs to the survivors. After the considerable personal ordeal of bringing Come and See to fruition, Elem Klimov proved unable to see another film through to completion. Arc will also publish two further collections of translations of long neglected Belgian poets Emile Verhaeren and Georges Rodenbach in 2010. Klimov permits us a brief bearably distant shot of half-stripped bodies heaped against the cabin wall, but as Glasha is running, her words almost incoherent with shock, we see through her eyes, this unevenness creating an effect even more bludgeoning. What turned out to be his final film would be set in the countryside of Byelorussia in 1943, focusing on the traumatic events there in which mass ethnic cleansing by German occupation forces left over six hundred villages razed to the ground, their populaces annihilated, all in accordance with Hitler’s demands for a ‘gloves off’ racial ‘purification’ of the occupied territories. There then follows another brief, seemingly innocuous scene whose significance could be lost in the gathering storm. Klimov favours subdued tones of green, grey and browns throughout, relieved only by the massed red orange of flames and the relentless pallor of the ill-starred participants faces. (Soviet censors got in the way.) But here the action is far more ferocious and the violence systematic, a psychotic free for all, yet still based on an orchestrated but by now well-thumbed process. Kravchenko’s very face wizens as the film bears on and his initial travails spin beyond his control. saying ‘Come and see’…”, – Revelation of St John the Divine – New Testament, There is a scene at the closing stages of the film Come and See (1985) by Russian director Elem Klimov, where a fanatical SS man cornered by the partisans and incensed at the craven grovelling for mercy of his fellow executioners, spells out with the fervent conviction of an Aryan ‘Meister aus Deutschland’, the reason why they have perpetrated their wholesale massacre on the civilian populace of Byelorussia. It is a film about internecine human atrocity, the sudden and brutal loss of innocence, the impotence of the guileless, the appalling rupture of benign rural communities by technologically enabled destructive forces spewing from a poisonous ideology. The presence of a cow in one of the most dramatic scenes again shows that animals dumbly wandering into or being lead too close to the darker side of the human condition only deepen the resonance of its destructive capacity. His last film Agony a lavish production which took a staggering nine years to make and ten more to see release, was set in the Romanov period and followed the life of the ‘mad monk’ Rasputin. Souvenir snapshots are taken, one with a pistol next to the head of the devastated figure of Florya and then the entourage leave after burning anything left standing with flamethrowers. Come and See, originally released as Idi i Smorti, was the winner of the Grand Prix at the 1985 Moscow Film Festival. By an absurd chance of fate, Florya manages to escape via a window and is cast down alongside the baying soldiers as they casually toss hand grenades into the church and then torch it, incinerating the mass of people inside. Klimov, profoundly moved and struggling to mentally accommodate what he had read, was determined that there would be no blurring of the edges in his account, no falsifying, he had to show things as they had really been, though he confessed afterwards that he felt the film was ‘somewhat reserved’ and that if he had shown the unadulterated truth it would have been unwatchable even by those with the strongest nerves. However, from the outset one is aware this story is the frame on which to construct a poet filmmaker’s expressive vision. The peasants close in to fuss over him. Then, as Florya races about the shacks and outhouses like a cornered rat, they close in across the folds, their gradual appearance through the fog all the more intimidating. If nothing else, “Come and See” offers a sobering history lesson, illuminating one of the lesser known episodes of World War II: the Nazi occupation of Belarus. Along the way he meets Glasha, an enigmatic peasant girl and sometime lover of the Partisan leader. AKA: Go and See: Come and See, Idi i smotri, Iди i дивись, Go and Look, Go and see. Watch Queue Queue. They think if they treat him well they will be safe. Humanity is here faced with the unpardonable crime of its own nature and proves unable to do anything more in reply than exact a cauterizing revenge in a hail of bullets…. So this is my all time favorite movie. The setting is Nazi-occupied Belarus, 1943. Compra Come and See [DVD] by Aleksey Kravchenko. Now the boy is alone for the first time. The scene already cited of Florya and Glasha in their fir forest hideaway immediately cuts to the rapturous episode of these momentary babes in the wood deliriously shaking the trunks of sunlit trees to make rain fall, so they can refresh themselves. To believe that would be to believe that atrocity is guided by consequence or reason. SPEDIZIONE GRATUITA su ordini idonei As Florya runs off shouting that he knows where they are hiding, Glasha follows him, but as they pass the back of the house, she looks behind and to her horror ‘sees’ the truth behind the villagers disappearance and the fate of Florya’s family. Demented music from loud speakers plays along as the violence issues forth. First published in 3:AM Magazine: Thursday, February 4th, 2010. Then the cow is inevitably struck along with Florya’s companion. Then the passage from the Revelation of St John the Divine was discovered, and the repetition of the words Come and See gave Klimov his title. The opening scene finds Florya and another boy digging in a sandy field. The conflagration at the film’s peak, which doesn't break the heart so much as render it completely without function, is hardly the only proof. Another moving moment easily overlooked comes earlier in the film when Florya, obliged to strip and climb into the cooking pot at the camp to scrub it with fir fronds is approached by Glasha who holds a posy of simple woodland flowers. That was the old way, how it used to be done, but little do they realise this modern ideological predator will not let life carry on as before but has a different purpose in mind, for he is a hygienist, an exterminator, who, after he has had his fill will offer perhaps a curt nod in appreciation at the repast, then prepare to systematically butcher the whole family who have served him his refreshment. Will be used in accordance with our Privacy Policy. From the nearby fields trucks unload the obscure shapes of soldiers. Naturally one tends to focus on the actual church burning scenes themselves, the inconceivable violence and insanity of that twisted carnival, but it is in the build up where Klimov’s sensitive handling is most apparent. The film is set in 1943 and opens with two Byelorussian boys, Florya (Aleksei Kravchenko) and his friend, exploring abandoned fortifications from a previous… Thankfully, Janus Films has recently remastered “Come and See,” giving it the 2K restoration treatment and is releasing the film back in theaters. The idea that “Come and See” is not a straight narration of history is pretty evident in the massacre scene. Florya lashes his bare chest vigorously with foliage to enliven his flesh, recalling Max Von Sydow’s character in Bergman’s The Virgin Spring. But with Come and See, he became and remains one of its most worthy chroniclers. The scene is lent a further surreal quality by the presence of the cow, which stands nonchalantly grazing amidst the mayhem. His published translations include To The Silenced – selected poems of Georg Trakl (Arc Publications, 2005). This is signalled by the arrival overhead of a German reconnaissance plane and the morbid drone of its engines. This scene has echoes of a similar one in Tarkovsky’s Andrei Rublev, when barbarian hordes sack a church, massacring the innocents inside. In this moment of wavering he retains his humanity, even if to have shot the child would be to prevent all he and his community has endured. Traduzioni in contesto per "come and see" in inglese-italiano da Reverso Context: come and see me, come back and see, come by and see, come up and see, come in and see As the flames devour the structure they clap as if at a variety performance and the schnapps is handed round, a job well done, another day’s labour completed. As he is nursed by Glasha amongst the throng of zombie-like peasant survivors, his face palpably changes from one of ‘health’ to ‘sickness’, leaving him irrevocably scarred with the staring eyed, ravaged look of the permanently-alerted imbecile. Even so reports of ambulances speeding to Russian cinemas on its release only confirmed its searing impact. Florya uses the rifle rendered useless by the swamp waters to carve his way through, this weapon which he has never fired and will only fire at the close of the film into an image not a living person. The final scene when in cold fury he shoots Hitler’s portrait back to his childhood via manic newsreel footage in reverse, seems a statement of release, the estranged moment when there is no other answer than to fire at will himself. Here it must be said Klimov uses fire to great effect, determined to show the inferno as it must have been, not just a few tongues of polite flame licking around the eaves, but great gobbets of petroleum from flamethrowers spilling over the dusty tracks, the farmsteads casting a glow somehow reminiscent of the hellish backdrops to Brueghel’s painting The Triumph of Death. Come and See is continually cited as one of the greatest war films ever made, finding its place on lists alongside the likes of Saving Private Ryan (1998) and Cross of Iron (1977). No one who has watched Come and See, Elem Klimov’s legendary 1985 anti-war film, can forget the horrors at its climax. Though a critical success, Klimov ultimately considered it a failure due to, in his words, having failed to express ‘those extremely complex emotional states’ which were his original intention. ‘Yours is an inferior race and must by exterminated…our mission will be accomplished whether it be today or tomorrow.’ We have heard the rhetoric before, but in Klimov’s hands in this the final dramatic scene of the film it is as if we are hearing these evil pronouncements afresh. Originally the film was titled Kill Hitler but to mention Hitler by name at all in that period fell foul of the Soviet authorities. It also made Channel 4's list of 50 Films to See Before You Die and was ranked number 24 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. A Catholic Primary Religious Education programme for Foundation and Key Stages 1 and 2 published in July 2012. Then, the whole pace changes and another shift occurs in the dramatic energy which Klimov employs so effectively throughout the film. As a local man warns and as Flyora’s own mother pleads, merely digging up the gun is a dangerous idea; it will raise suspicions among the Nazis. In the barn scene near the end, a man peeks out the window and is immediately shot. Perhaps it helps that this is, in part, a tale about lost innocence, firmly rooted in the cowering perspective of a guileless teenage boy. And as you can see in the new trailer for the film, the war film as beautiful and visceral today as it was when it was released in 1985. Suddenly a flare mounts the sky and a fierce fire fight breaks out around them. — Why Eminem performed “Lose Yourself” at the 2020 Oscars— The Crown announces its new Queen Elizabeth II—and confirms its last season— Legendary Oscar winner Lee Grant on the blacklist, sex, sexism, and the treatment of Renée Zellweger— Hanging with Bill Murray on the set of Ghostbusters: Afterlife— Inside the 2020 Vanity Fair Oscar party— There’s a blank space at the center of Taylor Swift’s Miss Americana— From the Archive: How director Bong Joon Ho’s Parasite marched toward Oscar night—and changed everything along the way. He is the new master, this much they know. © 2021 Condé Nast. Source: AFTRS Prod, Dir: Elem Klimov Scr: Klimov and Ales Adamovich Phot: Alexei Rodionov Mus: O. Yanchenko, Mozart. Their fear is not abstract. As the two sit in the rustic kitchen sipping soup that was still simmering on the hob and strangely plagued by flies, an unsettling whining sound begins to invade and the sense of all not being well despite Florya’s protestations becomes intolerable. You would never call this a documentary in the journalistic sense—yet few war movies made before or since have so accurately seemed the capture the feeling of being there. Rarely can a sense of the helplessness of a community, one of hundreds that shared the same fate, been more chillingly illustrated as through Klimov’s approach. Fortunately this did not happen and Kravchenko, whom Klimov praised for his nerve and composure on set, went on to lead a comparatively normal acting career. All rights reserved. After desultory attempts to shift the cow or hack off a haunch for the meat, unproductive actions providing further metaphors for his impotence, Florya wanders about the field unknowingly into the commencement of the final German assault on the still sleeping village of Perekhody. There is a scene at the closing stages of the film Come and See (1985) by Russian director Elem Klimov, where a fanatical SS man cornered by the partisans and incensed at the craven grovelling for mercy of his fellow executioners, spells out with the fervent conviction of an Aryan ‘Meister aus Deutschland’, the reason why they have perpetrated their wholesale massacre on the civilian populace of Byelorussia. Looking for more? Watch Queue Queue It is distinctly unfathomable—awe-inspiring, in the original, terrifying sense of the word. A Great film made in Byelorussian SSR back in 1985. Ad Choices. But the scene in question belongs to a category unto itself. “The lamb opened one of the seals Here, what could be a clumsy death symbolism is perfectly handled by Klimov. It is about how men are capable of committing the most heinous acts at the frayed end of a psychopath’s ideological whip and how the stain of unhinged reasoning spreads into a destructively motivated crowd, but also how the determined victim collective produces an equally powerful will to resist the occupier and bring justice or at least survival to the subjected. The film closes with Florya rejoining his partisan unit which marches purposefully into the forest to the strains of Mozart’s Requiem. The unpredicted success of Come and See around the world brought him renewed respect, American money and the prospect of further challenging projects. To revisit this article, visit My Profile, then View saved stories. Only five months ago, Oscar-winning cinematographer Roger Deakins praised the film on his blog: “I think I am right in saying that 'Come and See' utilized Steadicam in a way than had not been done up to that time.” He has cited it as one of his favorite films. Soon, most everyone the boy knows is dead. The film, which is now playing in New York in a restored print (and will be touring through major U.S. cities through July) is a classic—a blunt and unforgettable testament to the power of cinema. Once on the island an enraged Florya learns the fate of his family from Glasha and appears to suffer a complete mental breakdown. Glasha dances happily on a log for her new companion. All she hit me with is, "Come and see me for once" "Come and see me for once" You don't ever come to me, you don't ever come to me" Writer(s): Aubrey Graham, Noah Shebib, Jahron Anthony Brathwaite Testo Come and See Me powered by Musixmatch. A boy is unwillingly thrust into the atrocities of war in WWII Byelorussia, fighting for a hopelessly unequipped resistance movement against the ruthless German forces. In terms of the viewer’s emotional upheaval after watching it, Come and See has little to do with what people consider a conventional war film. ‘Some races do not deserve to exist’. There’s lot of truth in the scene, but at the same time, Klimov exaggerates the reality (not by exploiting) to attain full comprehension of the horror. Come and See (1985) cast and crew credits, including actors, actresses, directors, writers and more. Come and See —adapted by Klimov, with Ales Adamovich, from the 1978 book I Am from the Fiery Village —is a war narrative about a teenage boy, Flyora (Aleksey Kravchenko), who digs a … Another scene liable to infect the imagination comes when Florya joins other partisan remnants to search for food and a cow is herded across a pasture in the moonlight. She laughs and casts the flowers over him. I can point to specific images that have shaken me to the core each time: a Nazi woman cracking open a crab leg as that farmhouse burns, for example, or a guilt-ridden Flyora sticking his head in the mud, or his companion turning, unexpectedly, to find a pile of dead bodies stacked up against a wall: Flyora’s family. The table is set and laid with food in preparation. The bestial scene inside the packed church is one of unimaginable terror and pandemonium. The film follows the young Florya on his journey through a personal hell to the final overwhelming act of the burning of an entire village and its inhabitants by SS extermination squads in carnivalesque mood. They are thrown together when the partisan camp is attacked and journey on together, their mutual innocence rudely eradicated following a visit to Florya’s village on the heels of the SS. He only produced five films, enduring protracted periods between them of frustration and deliberation exacerbated by personal tragedy. In her clinging rain-soaked bottle green dress she blooms with the reckless vitality of youth and seems in that instant impervious to horror. But what emerged was a masterpiece of war filmmaking: one of the rare war movies whose design, whose extreme attention to forms of violence that challenge and defy what we think film is capable of, surpasses mere depiction. Florya visibly ages as one trauma builds on another and Kravchenko’s face changes from that of a fresh innocent often beaming boy to a prematurely aged feral youth with lip permanently pursed in spasm, his embittered features revealing all he has suffered along the way. Once the massacre gets under way the animal is spared the spectacle when a German helmet is placed over it. This 1985 film from Russia is one of the most devastating films ever about anything, and in it, the survivors must envy the dead. It is hailed for the visceral power of its images and its entirely plausible scenes of carnage. Come and See – An immersive audio experience. There was a genuine fear that the boy might absorb so much horror he would be left permanently damaged by his experiences. A book by Ales Adamovich on the massacres at Katyn gave Klimov the bedrock he needed and he decided to set the new film in Byelorussia, scene of some of the worst atrocities on civilians of the war. As the firing subsides he sleeps, the cow’s bloated belly his pillow. The naked boy, trapped in his lowly position crouches embarrassed, helpless. It is clear that he grafted those memories onto this film, honoring them by resisting the temptation to manufacture a narrative. READ MORE: The 25 Best War Movies Of All Time But this war film categorization becomes onerous with over simplification when one fully appreciates the striking visionary elements and artistic achievements Klimov attains. Seen from the rear, a lone motorcycle with sidecar weaves along the unmade road in a dense brownish fog, sprawled upon it lies the bullet sewn corpse of a man who carries a placard in his stiffened hands stating ‘I insulted a German soldier’. The entire movie is memorable: a nightmare manifested into reality, or rather, history reemerging into the present as the nightmare that it always was. The viewer is transported through a rural landscape intermittently stricken with human-foisted horror, barren, foreboding and unforgiving in places, eerily beautiful and mysterious in others. The epic struggle through the clinging mud and slime is relentless; the camera lingers on their agonised mud streaked faces, the futility of their effort known in advance. Come and See is rife with running Steadicam shots and deliberately unsettling compositions. Florya, ignored even by the executioners, has survived in the physical sense, but that is all.

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