Movie Stream Idi i smotri For Free with Aleksey Kravchenko gomovies

7.0/ 10stars

https://onwatchly.com/video-9803.html

 

 

 

release year=1985

country=Soviet Union

Liubomiras Laucevicius

Tomatometers=8,7 / 10 Star

Drama

Writer=Ales Adamovich, Elem Klimov

Come and See Russian theatrical release poster Directed by Elem Klimov Screenplay by Elem Klimov Ales Adamovich Story by Ales Adamovich Based on I Am from the Fiery Village by Ales Adamovich Janka Bryl Vladimir Kolesnik Starring Aleksei Kravchenko Olga Mironova Music by O. Yanchenko Cinematography A. Rodionov Edited by V. Belova Production company Mosfilm Belarusfilm Distributed by Sovexportfilm Release date July 1985 ( Moscow) Running time 142 minutes [1] Country Soviet Union [2] Language Belarusian Russian German Come and See ( Russian: , Idi i smotri; Belarusian: І і і і, Idzi i hlyadzi) is a 1985 Belarusian film directed by Elem Klimov filmed in the Soviet Union, with a screenplay written by Klimov and Ales Adamovich based on the 1978 book I Am from the Fiery Village [3] original title: , 4] Ya iz ognennoj Derevni, 1977) by Adamovich et al. 5] The film stars Aleksei Kravchenko and Olga Mironova. [6] Come and See is generally viewed as one of the most important anti-war movies ever made, and one of the great World War II movies, with the most historically accurate depictions of the crimes on the Eastern Front. The film focuses upon the Nazi German occupation of Belarus, and primarily upon the events witnessed by a young Belarusian partisan teenager named Flyora, who—against his parents' wishes—joins the Belarusian resistance movement, and thereafter depicts the Nazi atrocities and human suffering inflicted upon the Eastern European villages' populace. The film mixes hyper-realism with an underlying surrealism, and philosophical existentialism with poetical, psychological, political and apocalyptic themes. Come and See had to fight eight years of censorship from the Soviet authorities before the film was finally allowed to be produced in its entirety to commemorate the 40th anniversary of the Soviet victory in World War II, and was a major box-office hit, with 28, 900, 000 admissions in the Soviet Union alone. The film was selected as the Soviet entry for the Best Foreign Language Film at the 58th Academy Awards, but was not accepted as a nominee. [7] Title [ edit] The original Belarusian title of the film derives from Chapter 6 of The Apocalypse of John, where in the first, third, fifth, and seventh verse is written "і і і і" 8] English: Come and see" Greek: Ἐρχου καὶ ἴδε, Erchou kai ide) 9] as an invitation to look upon the destruction caused by the Four Horsemen of the Apocalypse. [10] 11] Chapter 6, verses 7–8 have been cited as being particularly relevant to the film: And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see! And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. 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. Plot [ edit] In 1943, two Byelorussian boys dig in a sand-filled trench looking for abandoned rifles in order to join the Soviet partisan forces. Their village elder warns them not to dig up the weapons as it will arouse the suspicions of the Germans. One of the boys, Flyora, finds an SVT-40 rifle, though the both of them are seen by an Fw 189 flying overhead. The next day, partisans arrive at Flyora's house to conscript him. Flyora becomes a low-rank militiaman and is ordered to perform menial tasks. When the partisans are ready to move on, an old partisan says that he wants to stay behind because his boots are falling apart. The partisan commander, Kosach, orders the old man to swap boots with Flyora and for Flyora to remain behind at the camp. Bitterly disappointed, Flyora walks into the forest weeping and meets Glasha, a young girl working as a nurse in the camp, and the two bond before the camp is suddenly attacked by German paratroopers and dive bombers. Flyora is partially deafened from explosions before the two hide in the forest to avoid the German soldiers. Flyora and Glasha travel to his village, only to find his home deserted and covered in flies. Denying that his family is dead, Flyora believes that they are hiding on a nearby island across a bog. As they run from the village in the direction of the bogland, Glasha glances across her shoulder, seeing a pile of executed villagers' bodies stacked behind a house, but does not alert Flyora. The two become hysterical after wading through the bog, where Glasha then screams at Flyora that his family are actually dead in the village. They are soon met by Roubej, a partisan fighter, who takes them to a large group of villagers who have fled the Germans. Flyora sees the village elder, badly burnt by the Germans, who tells him that he witnessed his family's execution and that he should not have dug up the rifles. Flyora accepts that his family is dead and blames himself for the tragedy. Roubej takes Flyora and two other men to find food at a nearby warehouse, only to find it being guarded by German troops. During their retreat, the group unknowingly wanders through a minefield resulting in the deaths of the two companions. That evening Roubej and Flyora sneak up to an occupied village and manage to steal a cow from a collaborating farmer. However, as they escape across an open field, Roubej and the cow are shot and killed by a German machine gun. The next morning, Flyora attempts to steal a horse and cart but the owner catches him and instead of doing him harm, he helps hide Flyora's identity when SS troops approach. Flyora is taken to the village of Perekhody, where they hurriedly discuss a fake identity for him, while the SS unit (based on the Dirlewanger Brigade) accompanied by Ukrainian collaborators surround and occupy the village. Flyora tries to warn the townsfolk they are being herded to their deaths, but is forced to join them inside a church. Flyora and a young woman bearing a strong resemblance to Glasha manage to escape; the young woman is dragged by her hair across the ground and into a truck to be gang raped, while Flyora is forced to watch as grenades are thrown into the church before it is set ablaze and shot. A German officer points a gun to Flyora's head to pose for a picture before leaving him to slump to the ground as the soldiers leave. Flyora later wanders out of the scorched village in the direction of the Germans, where he discovers they had been ambushed by the partisans. After recovering his jacket and rifle, Flyora comes across the young woman who had also escaped the church in a fugue state and covered in blood after having been gang-raped and brutalized. Flyora returns to the village and finds that his fellow partisans have captured eleven of the Germans and their collaborators, including the commander, an SS-Sturmbannführer. While some of the captured men including the commander plead for their lives and deflect blame, a young fanatical officer bluntly tells the captors that their people have no right to exist and they will carry out their mission. Kosach then forces most of the collaborators to douse the Germans with a can of petrol 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. As he does so, a montage of clips from Hitler's life play in reverse, but when Hitler is shown as a baby on his mother 's lap, Flyora stops shooting and cries. “ We are obliged to exterminate the population—this is part of our mission to protect the German population. I have the right to destroy millions of people of a lower race who breed like worms. ” —  Adolf Hitler, 1941 [12] In the final scene, a partisan officer calls out to a low-ranking recruit. Flyora turns, but an obedient youth nearby rushes past him, and Flyora realizes he is now a full partisan. He then catches up and blends in with his comrades, marching through the woods as snow blankets the ground. As they disappear into the birch forest, a title informs: 628 Belorussian villages were destroyed, along with all their inhabitants. 13] Cast [ edit] Aleksey Kravchenko as Flyora Olga Mironova as Glasha/Glafira Liubomiras Laucevičius as Kosach (voiced by Valeriy Kravchenko) Vladas Bagdonas as Roubej Jüri Lumiste as young German officer Evgeniy Tilicheev as Ukrainian collaborator and translator Viktor Lorents as the German commander Production and release [ edit] 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 1977: The 40th anniversary of the Great Victory was approaching. [3] 14] 15] The management had to be given something topical. 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. or about how another village was burned: the adults were all herded into a barn, but the children were left behind. 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. Even though more than 600 villages were burned there! 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. We had to prepare him for the most difficult experiences, then capture them on film. 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 Aleksey 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. " —  Elem Klimov Come and See was shot only on Belarusian soil. The events with the people, the peasants, actually happened as shown in the film. [It] doesn't have any professional actors. 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. [17] For eight years, 14] 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. 16] Eventually in 1984, Klimov was able to start filming without having compromised to any censorship at all. The only change became the name of the film itself, which was changed to Come and See from the original title, Kill Hitler [18] Elem Klimov also says this in the 2006 UK DVD release. 19] The film was shot in chronological order over a period of nine months. [18] Aleksey Kravchenko said that he underwent "the most debilitating fatigue and hunger. I kept a most severe diet, and after the filming was over I returned to school not only thin, but grey-haired. 20] 18] To prepare the 13-year-old Kravchenko for the role, Klimov called a hypnotist. I realized I had to inject him with content which he did not possess, Mr. Klimov said. This is an age when a boy does not know what true hatred is, what true love is. In the end, Mr. Kravchenko was able to concentrate so intensely that it seemed as if he had hypnotized himself for the role. 21] 18] To create the maximum sense of immediacy, realism, hyperrealism, and surrealism operate in equal measure. [22] 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. [3] 18] 23] 24] Aleksey Kravchenko mentioned in interviews that bullets sometimes passed just 4 inches (10 centimeters) above his head [18] such as in the cow scene. 3] At the same time "the mise-en-scène is fragmentary and disjointed: there are discontinuities between shots as characters appear in close up and then disappear off camera. Klimov employs a range of techniques that draws attention to the camera. The extreme close-ups of actors staring into camera is a recurring motif. Elsewhere. the moment of revelation is marked by a disorienting zoom-in/dolly-out shot. 3] The film was released on 17 October 1985, 6] drawing 28. 9 million viewers [18] 25] and ranking sixth at the box office of 1986. [25] In 2017, the film received an official restoration which won the Venice classics award for Best restored film, and was also shown in several European independent cinemas again. [26] 27] 28] In the United States, Kino Lorber released the film on DVD in 2001. It is currently out-of-print. As of September 2019, the film became available on the streaming service for the Criterion Collection, the Criterion Channel. On December 18, 2019, Janus Films released a trailer for an upcoming 2k-restoration thats expected to premiere in February of 2020 with a theatrical run and then, possibly, a restored home media release through Criterion. [29] 30] 31] Music [ edit] The original soundtrack is rhythmically amorphous music composed by Oleg Yanchenko. At a few key points in the film classical music from mainly German or Austrian composers are used, such as Johann Strauss Jr. 's Blue Danube, sometimes mixed in with Yanchenko's music. The Soviet marching song The Sacred War, Russian folk song Korobeiniki and German folk song Im Wald im grünen Walde are played in the movie once. The German military march "Old Comrades " is played as the German army begins its attack on the village. During the scene where Glasha dances, the background music is taken from Grigori Aleksandrov 's 1936 film Circus. At the end, during the montage, music by Richard Wagner is used, most notably the Tannhäuser Overture and the Ride from Die Walküre. At the conclusion of the film the Lacrimosa from Mozart 's Requiem is played. Themes [ edit] It has often been noted how the film mixes a ruthless "hyper-realistic" take on the Holocaust during Operation Barbarossa, while at the same time hinting an underlying surrealist atmosphere without being "unreal. 32] 33] 34] 35] 36] 37] The image of Hitler shown in the film as a baby sitting on the maternal knees has no historical foundation. It is a photomontage devised by Klimov between this picture of infant Hitler and that of his mother A Focke-Wulf Fw 189, the aircraft that Klimov makes fly high above the protagonists' head The film mixes themes about philosophical existentialism, spiritual degradation, the human mind, etc, under Nazi carnage, extreme trauma, and also the politics behind the Nazi-German warfare, —with often poetic, classical apocalyptic themes, influences and "twilight state-like" or nightmarish, psychological dialogues. [38] 39] 40] 41] 42] 43] The film has been praised for how it shows one of human history's worst crimes with an honest and genuine take, rather than the more common, sentimental "Hollywood take" on the subject. The film's settings is often in vast, deep Belorussian forests and swamps. The nature (with both the hostility and fear and the peacefulness and beauty that can be found in it) plays a big role in the movie's symbolism and atmosphere. Politically it deals with the people's suffering under the Nazi invasion, and the essence and depth of the people's (both collective and individual) trauma, and also honoring the defense of the Slavic nations by partisans. As an anti-fascist and anti-war movie it brings up the ideological driving-forces behind the war on (and Holocaust in) Eastern Europe; i. e the Nazis' racial ideological hatred for so-called " Judeo-Bolshevism " as one of the main motives behind their genocides against Jews and Slavs. Come and See has been praised for the way it shows the Nazis on the Eastern Front as genocidal as they historically documented were, and for how it brings out the genuine sense of terror that people in reality felt with the mere presence of those forces. It shows their systematic calculated killings and their discretionary sadism. Klimov is said to make the viewer understand, and sense, what Fascism brought, in a metaphor of a "black plague" in similar style to the partisan song "The Sacred War" and it's lyrics' description of it (i. e "the fascist hordes' black wings" and similar writings) which is also featured in the film. The movie is generally viewed as one of the most important anti-war movies ever made, one of the great movies in history and one with the most historically accurate depictions of the crimes on the Eastern Front, and in general one of the most important Holocaust movies. [44] 45] 46] 47] 48] 49] Reception [ edit] 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 dismissed the ending as "a dose of instant inspirationalism. but conceded to Klimov's "unquestionable talent. 50] Rita Kempley of the Washington Post wrote that "directing with an angry eloquence, Klimov] taps into that hallucinatory nether world of blood and mud and escalating madness that Francis Ford Coppola found in Apocalypse Now. 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. 51] Mark Le Fanu wrote in Sight & Sound 03/01/1987 that Come and See is a "powerful war film. The director has elicited an excellent performance from his central actor Kravchenko. 52] 53] 54] 55] 56] 57] 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. [14] 19] Also according to Klimov, during one of the after-the-film discussions, an elderly German stood up and said: I was a soldier of the Wehrmacht; moreover, an officer of the Wehrmacht. I traveled through all of Poland and Belarus, finally reaching Ukraine. I will testify: everything that is told in this film is the truth. And the most frightening and shameful thing for me is that this film will be seen by my children and grandchildren. 58] The film has since been widely acclaimed in the 21st century. In 2001, 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. 59] In 2001, 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. The bit of actual death-camp corpse footage that Klimov uses is doubly disturbing in that it retrospectively diminishes the care with which he orchestrates the town's destruction. For the most part, he prefers to show the Gorgon as reflected in Perseus 's shield. There are few images more indelible than the sight of young Alexei Kravchenko's fear-petrified expression. 60] In the same publication in 2009, Elliott Stein described Come and See as "a startling mixture of lyrical poeticism and expressionist nightmare. 61] In 2002, Scott Tobias of The A. V. 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. 62] British magazine The Word wrote that " Come and See is widely regarded as the finest war film ever made, though possibly not by Great Escape fans. 63] Tim Lott wrote in 2009 that the film "makes Apocalypse Now look lightweight. 64] In 2006, Geoffrey Macnab of Sight & Sound opined, Klimov's astonishing war movie combines intense lyricism with the kind of violent bloodletting that would make even Sam Peckinpah pause. 3. failed verification] On 16 June 2010, Roger Ebert posted a review of Come and See as part of his "Great Movies" series, describing it as "one of the most devastating films ever about anything, and in it, the survivors must envy the dead. 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. 65] Come and See appears on many lists of films considered the best. In 2008, Come and See was placed at number 60 on Empire magazine's "The 500 Greatest Movies of All Time" in 2008. [66] It also made Channel 4's list of 50 Films to See Before You Die [67] and was ranked number 24 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. [68] Phil de Semlyen of Empire has described the work as "Elim Klimovs seriously influential, deeply unsettling Belarusian opus. No film – not Apocalypse Now, not Full Metal Jacket – spells out the dehumanising impact of conflict more vividly, or ferociously. An impressionist masterpiece and possibly the worst date movie ever. 69] It ranked 154 among critics, and 30 among directors, in the 2012 Sight & Sound polls of the greatest films ever made. [70] Rotten Tomatoes reported a 96% approval critic response based on 23 reviews. [6] Klimov did not make any more films after Come and See, 71] leading some critics to speculate as to why. In 2001, Klimov said "I lost interest in making films. Everything that was possible I felt I had already done. 21] Accolades [ edit] Awards Award Date of ceremony Category Recipients and nominees Result 14th Moscow International Film Festival [72] 12 July 1985 Golden Prize Elem Klimov [3] 15] 6] 25] Won FIPRESCI prize See also [ edit] List of submissions to the 58th Academy Awards for Best Foreign Language Film List of Soviet submissions for the Academy Award for Best Foreign Language Film References [ edit. Come and See (15. British Board of Film Classification. 16 December 1986. Retrieved 29 May 2013... IDI I SMOTRI (1985. British Film Institute. Retrieved 5 December 2018. ^ a b c d e f g Chapman, James (2008. Chapter 2 war as tragedy (pp. 103ff. War and Film. Islington: Reaktion Books. ISBN   978-1-86189347-5. ^ , [ Adamovich, Ales] , [Visor, Vanya] , [Kalesnik, Uladimir Andreevich] 1977. . I Am from the Fiery Village. in Belarusian. Minsk: - [Art lit-ra. ^ Rein, Leonid (2011. The Kings and the Pawns. Collaboration in Byelorussia during World War II. New York City: Berghahn Books. ISBN   978-0-85745043-2. The stories of survivors from the burned villages were collected in the 1970s 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. I am from the fiery village. See Adamovich et al., Ya iz ognennoj Derevni. Minsk, 1977. p. 321. ^ a b c d " Come and See (Idi i smotri) 1985. Rotten Tomatoes. Fandango. Retrieved 16 May 2019. ^ Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. ^ і і , , і ў і 6. Read Bible online" The Bible, Revelation, Chapter 6] in Belarusian. Retrieved 30 April 2019. ^ Garland, Anthony Charles (2007. A Testimony of Jesus Christ - Volume 1. A Commentary on the Book of Revelation. 2007. p.  325. ISBN   978-0-978-88641-7. ^ Wise, Damon (28 October 2013. Top 10 war movies. 5. Come and See. The Guardian. London. Retrieved 4 July 2016. ^ The same biblical quote is at the center of the film Horsemen (2009... . , " Khatyn - Genocide policy, The genocide of the Belarusian people. in Belarusian. Khatyn memorial. 2005. Retrieved 6 June 2019. ^ Youngblood, Denise Jeanne (2007. Russian War Films. On the Cinema Front, 1914-2005. Lawrence, Kansas: University Press of Kansas. p.  197. ISBN   978-0-70061489-9. ^ a b c Dunne, Nathan (18 July 2016. Atrocity exhibition: is Come and See Russia's greatest ever war film. The Calvert Journal. Retrieved 20 July 2019. ^ a b Noah, Will (10 January 2018. Elem Klimov's Boundary-Pushing Satires. The Criterion Collection. Retrieved 11 November 2018. ^ a b [Marina Murzina] 20 October 2010. : [ Come and See: shooting turned for Elem Klimov in the fight against censorship. [Arguments and Facts] in Russian) 42. Retrieved 30 August 2016. ^ Holloway, Ron (1986. Interview with Elem Klimov. Kinema. Retrieved 11 November 2018. ^ a b c d e f g Niemi, Robert (2018. Come and See [Russian: Idi i smotri] 1985) pp. 61-63. 100 Great War Movies. The Real History Behind the Films. Santa Barbara, California: ABC-CLIO. ISBN   978-1-440-83386-1. ^ a b "Elem Klimov about Come and see. interview with English subtitles. Retrieved 30 May 2013. ^ [Vera Maevskaia] 20 July 2004. : " " , " Aleksey Kravchenko: From the making of Klimov's film Come and See I returned not only terribly skinny, but also grizzled. [Boulevard] in Russian) 29. Retrieved 31 March 2018. ^ a b Ramsey, Nancy (28 January 2001. FILM; They Prized Social, Not Socialist, Reality. The New York Times. Retrieved 5 May 2019. ^ Menashe, Louis (2014. 2010. Moscow Believes in Tears. Russians and Their Movies. Washington, D. C. New Academia Publishing, LLC. pp.  95 - 96. ISBN   978-0-984-58322-5. ^ Stilwell, Blake (26 April 2017. This Soviet WWII movie used real bullets instead of blanks. Retrieved 31 March 2018. ^ Gault, Matthew (28 May 2016. Come and See' Turns the Eastern Front Into a Hallucinatory Hellscape. Retrieved 31 March 2018. ^ a b c Youngblood, Denise Jeanne (2007. ISBN   978-0-700-61489-9. ^ Venice Classics Award for Best Restored Film - Premio Venezia Classici per il Miglior Film Restaurato: IDI I SMOTRI (1985) by Elem Klimov ^ The Legacy of the Siege of Leningrad, 1941–1995. Kirschenbaum. ^ 100 Great War Movies: The Real History Behind the Films. Robert Niemi. ABC-CLIO, 2018. ^ Cinepaternity: Fathers and Sons in Soviet and Post-Soviet Film. Helena Goscilo, Yana Hashamova. Indiana University Press, 2010. ^ Goodman, Walter (6 February 1987. Film: Come and See' from Soviet. Retrieved 30 May 2013. ^ Kempley, Rita (25 September 1987. Come and See review. The Washington Post. Retrieved 7 January 2017. ^ 6 Non-Traditional Horror Films to watch this Halloween, by Jordon Jefferies October 29, 2015, The State Of The Arts ^ Steffens, Daneet (2 November 2001. Come and See. Entertainment Weekly. Retrieved 20 January 2017. ^ Hoberman, J. (30 January 2001. High Lonesome. The Village Voice. New York City. Retrieved 25 February 2014. ^ Stein, Elliott (18 August 2009. Retrieved 25 February 2014. ^ Tobias, Scott (19 April 2002. Come And See. The A. Club. Chicago: Onion, Inc. Retrieved 25 February 2014. ^ The Word (41. July 2006. p. 122. ^ Lott, Tim (24 July 2009. The worst best films ever made. Retrieved 25 February 2014. ^ Ebert, Roger (16 June 2010. Come and See. Retrieved 25 February 2014. Yet in the biblical context chosen by Klimov for his movie, always in Chapter 6 of the Apocalypse, verse 14 states: the sky receded as a scroll when it is rolled up. 6:14. Isaiah 34:4. ^ The 500 Greatest Movies of All Time. Empire. November 2008. Retrieved 1 November 2013. ^ Film4's 50 Films To See Before You Die. Channel 4. 22 July 2006. ^ The 100 Best Films Of World Cinema. 2010. ^ Become A War Films Expert In Ten Easy Movies. ^ Votes for IDI I SMOTRI (1985. Sight & Sound. Retrieved 20 January 2017. ^ Bergan, Ronald (4 November 2003. Obituary: Elem Klimov. Retrieved 8 June 2009. ^ 14th Moscow International Film Festival (1985. MIFF. Archived from the original on 16 March 2013. Retrieved 9 February 2013. Further reading [ edit] Michaels, Lloyd (2008. Come and See (1985) Klimov's Intimate Epic. Quarterly Review of Film and Video. 25 (3) 212–218. doi: 10. 1080/10509200601091458. External links [ edit.

 

 

• Reviewed after a single viewing

As everyone else has already mentioned, this is an extremely disturbing, gritty, realistic, and impressive Russian war movie. Having a young adult (although by the end of the movie he is mentally transformed far beyond his age) as the main character was a unique choice for a war film and is just another way to make everything in this film seem even more shocking. And this young actor, Aleksei Kravchenko, is a perfect fit. His faces and movements perfectly display the extreme emotional turmoil that any of these situations would create. The writing and dialogue was a minimal part of this movie for me (although that could have been because I don't speak the language and had to focus on subtitles) but the message is easily communicated across any language barriers simply because of the bleak imagery and this feeling of dread and horror that I rarely come across even in legitimate horror movies. War is hell. I think that's the point of the movie and it definitely succeeds in showing that. There are way too many brilliant, memorable, but disgusting scenes of wartime atrocities, some of them bordering on surrealistic hallucinations (similar to some parts of Apocalypse Now) especially with the help of a very strange and unsettling drone/ambient soundtrack meant to simulate the confusion of bombings and shellshock. There are parts that drag a little bit, but not for long. Powerful scenes are spread evenly throughout the film and at the end the viewer should be left ragged. I certainly was. Some of the worst moments are stuck in my head whenever this movie comes to mind. Although this is a brilliant movie, it's hard for me to say I really enjoyed it, seeing as I usually enjoy lighthearted and beautiful movies. It was hard to watch but for all the right reasons. So on two different scales:
Enjoyment: 6/10 Quality: 8/10 Would I watch again? Of course, with the proper mental preparation haha.

 

FILMS RECOMMANDÉS: COMMENTAIRES Mais quel uppercut j'ai pris, j'ai eu beaucoup de mal à le terminer tellement qu'il est dur, pourtant il m'en faut beaucoup, mais là... Posted on: 2019-10-24T10:38:31 Un superbe film. Mais la nouvelle affiche n'est pas tip top. Si j'ai moyen de le voir au cinéma, je saute sur l'occasion. Posted on: 2019-04-24T07:25:43 Ceux qui lont vu savent la claque monumentale qu ils ont prit Un des meilleurs films de tt les temps un carnage sans concession un diamant brut une expérience dingue(je suis resté bouche bée et choqué) Posted on: 2018-10-30T23:07:12 un sacré film d'une authenticité à toute épreuve c'est brut et complètement immersif, je ne crois pas qu'un autre film de guerre ait montré l'occupation nazie de la sorte La mise en scène reste assez minimaliste, proche du documentaire, mais tout en étant très fluide, avec de très bons plans longs pour nous immerger avec le personnage de Fiora, dans cette perte d'innocence vitesse grand V Ce que je retiendrai surtout est le regard de son interprète, qui perd peu à peu son âme, et la beauté des plans du film, dans cette ambiance d'apocalypse Un grand film marquant Posted on: 2018-08-03T20:51:29 Albert Dupontel et Nicolas Boukhrief en parlent merveilleusement bien. Je veux voir ce film. Posted on: 2017-10-19T12:37:32 Je suis très content de l'avoir vu, je ne le regrette absolument pas mais je sais que je ne le reverrai plus jamais. Peut-être l'un des films les plus froids/durs/effrayants qui puisse exister. Posted on: 2017-06-27T12:31:47 Dans le même genre je vous conseille Feux dans la Plaine sorti en 1959 sur un soldat Japonais qui erre aux Philippines, j'ai vraiment eu l'impression qu'il était sorti du même moule que le film de Klimov avec sa représentation sans pitié du front et des situations vraiment dérangeantes. Posted on: 2017-03-16T21:42:01 très dur, très moche, très réaliste et trè Posted on: 2016-02-04T13:27:26 Il sagit ici dun chef dœuvre du cinéma soviétique. Il est souvent légitime de se méfier de la fiabilité de certains films historiques soviétiques, cependant nous avons ici lexception à la règle. Certains extraits de ce film ont même été repris pour des documentaires en France. Le film nous plonge à travers le regard dun jeune garçon (qui perd ses illusions au fur et à mesure) dans lhorreur de la guerre et la folie meurtrière qui sest déroulée durant la seconde guerre mondiale. La réalisation particulièrement bien faite de ce film donne plus de réalisme à cette œuvre. Posted on: 2015-08-26T07:32:04 IDI I SMOTRI est un film difficile et dur. Il nous permet de suivre un jeune garçon qui traverse la campagne marécageuse biélorusse au cours de la Seconde Guerre mondiale. Son errance résume lintrigue du film qui ne sappuie sur aucun suspense mais uniquement sur une observation brutale du génocide que ces campagnes connurent. Les scènes sont parfois très éprouvantes dans leur cruauté par les désillusions auxquelles se heurte le jeune homme. Les horreurs ne résident pas dans les images de la guerre mais dans la prise de conscience qui édifie lesprit du personnage principal. Voyage terrifiant au sein dune guerre dont Klimov ne montre quasiment pas les combats, IDI I SMOTRI est une démonstration poignante de labsurdité de la mort, qui nest plus un acte politique mais un acte de survie. Une logique qui se mord la queue et qui se berce du triste apitoiement sur lequel se déverse notre pitié. La suite de notre critique c'est par ici. Posted on: 2015-08-09T10:35:49 Contrairement à beaucoup de films de guerre, ici l'atrocité n'est pas source de divertissement. On se la prend en pleine face. La mise en scène est presque digne d'un Tarkovski. La scène qui m'a le plus marquée est celle vers le début du film lorsque des obus explosent dans la forêt. 4/5 Posted on: 2015-02-17T00:40:19 Habituellement, je déteste les films de guerre. Mais c'est la première fois que j'en vois un bouleversant. Celui-ci essaie de montrer la réalité de la guerre que l'on oublie trop de nos jours car peu de nous l'ont vécu. Merci de participer à la mémoire. Posted on: 2013-09-19T21:51:22 toujours pas de blu-ray pour ce chef dœuvre. c'est triste Posted on: 2013-07-10T16:41:54 L'horreur que cause la guerre montrée de façon réaliste et sombre. Une ambiance oppressante et une mise en scène incroyable (les images sont saisissantes. Posted on: 2013-02-09T04:31:26 Un chef-d'oeuvre du cinéma comme il en existe peu. Un travail sur le montage et sur le son qui amène le spectateur à être dans une situation dérangeante, gênante, rendant l'horreur encore plus insupportable. En somme, un film à voir absolument. Posted on: 2012-11-20T14:47:46 Film dérangeant et super-réaliste sur une Europe de l'est ravagée par les Einsatzgruppen. A voir absolument, ne serait-ce que pour son intérêt historique. Posted on: 2012-10-05T07:44:28 film de guerre hors norme certainement un des meilleurs dans cette catégorie a voir absolument! Posted on: 2012-07-27T14:04:29 Impressionnant! Magnifique et remarquablement joué par ce jeune acteur. J'en sors bouleversé... Posted on: 2012-03-11T09:33:00 une pure merveille! le réalisateur a composé chaque plan a la manière d'un peintre! Posted on: 2011-12-20T16:38:00 Film bouleversant! Posted on: 2011-11-06T03:34:00 quelle claque! attention quelques scène sont d une violence rare! Posted on: 2011-11-04T02:26:00 Vu il y a très longtemps et resté à jamais imprimé sur les rétines. Dur, éprouvant, un film sans concessions sur la guerre et la des hommes. A voir absolument! Posted on: 2011-10-16T21:23:00 Certainement pas une ode à l'héroïsme ou un film d'action spectaculaire, mais une oeuvre terrible, à la fois réaliste et cauchemardesque, sur la seconde guerre mondiale. Une seconde partie hallucinante de cruauté et un final poignant font de ce film russe de 1985 un classique du genre. Posted on: 2011-09-12T06:03:00 mrdru69 - Posté le 28/04 à 16:20 Film confus, lourd, avec une bande son totalement incohérente qui met une pression pour rien. J'ai perdu mon temps, film réservé à un public qui ne trouve son compte que dans le cinéma étranger et méconnu. Signaler un abus Je suis désolé mais la bande son est tout sauf incohérente. Certaines scènes de ce film reposent essentiellement sur la bande son (l'attaque de la foret au début par exemple. Il n'y a pas de lourdeur, mais de l'intensité. Encore faut-il y être réceptif. Ce cinéma "étranger et méconnu" a quand même réussi à pondre un bon film. Le cinéma compatriote et connu ne peux pas souvent s'en venter. Posted on: 2011-08-30T06:26:00 Film confus, lourd, avec une bande son totalement incohérente qui met une pression pour rien. J'ai perdu mon temps, film réservé à un public qui ne trouve son compte que dans le cinéma étranger et méconnu. Posted on: 2011-04-28T20:20:00 Une oeuvre venue tout droit d'une autre planète sur les comportements. humains. au temps de la seconde guerre mondiale, crue, vraie, cruelle, insoutenable, insuportable, horrible. Ce film d'une intensité incroyable et jamais égalée résume tous les conflits d'alors, d'aujourd'hui et hélas de demain. Aussi beau que "Le cuirassé Potemkine" aussi cru que "Les Damnés. Requiem Pour Un Massacre" est LE film de guerre par excellence et reste inégalé à ce jour. Chef d'oeuvre absolu, un des plus grand film de l'histoire du cinéma. Va et regarde... Posted on: 2011-02-28T17:35:00 Je veux le voir! Posted on: 2010-12-29T20:29:00 oui, le titre français, même s'il fait référence au requiem de mozart qu'on entend à la fin, est vraiment mal trouvé. entre requiem pour un fou et massacre à la tronçonneuse, les connotations font qu'on n'a pas envie a priori de le regarder. va et regarde, oui, bien sûr. pourquoi changer. surtout que c'est un des plus beaux films et sur la guerre et en général qu'on peut voir. c'est eisenstein ressuscité. et j'ai en permanence la bouille de ce jeune garçon, flora, petit vieillard à la fin de tant d'horreurs. le mal à l'état pur méritait bien ce chef-d'oeuvre lyrique, dont la bande son est absolument unique. Posted on: 2010-08-10T21:23:00 Terrifiant. Restent une bande-son parfois déroutante et des plans séquences un peu harassants, qu'on attribuera volontiers à un certain maniérisme à la russe. Posted on: 2010-03-01T19:36:00 Le plus grand film de guerre que je n'ai jamais vu (sauf si l'on compte The Deer Hunter comme un film de guerre) et aussi un des films les plus horribles qui m'ait été donné de voir. Posted on: 2010-01-13T22:02:00 Le titre français fait référence à la bande son du film qui est tiré du répertoire de Mozart, qui a justement composé un certain Requiem. Cependant, le titre est original a plus de force Posted on: 2009-12-14T22:11:00 le titre authentique du film (pas celui "inventé" en France & qui plus est, très mal choisi) se suffit à lui-même. Va & Regarde Posted on: 2009-10-31T08:48:00.

YouTube. Come and See ( / Idi i smotri) is a harrowing Soviet war movie directed by Elem Klimov in 1985. The film is based on the 1978 novel, I Am from the Fiery Village ( / Ya iz ognennoj Derevni) by Ales Adamovich. Together Klimov and Adamovich wrote the films screenplay. The film has come to be considered one of the greatest war films of all time. The best way to describe it is that its an amazing film that will ruin your day. Its just one of the most devastating movies there is. So, be warned – Come and See is not of the same ilk as Klimovs other most famous movie, the uproarious comedy, Welcome, or No Trespassing. The way in which Come and See was made gives some indication to how horrific it is to view. The shoots were dangerous – real flamethrowers and real bullets were used just feet away from actors. These difficult scenes changed the actors considerably over the course of filming. Aleksei Kravchenko, who played the lead, Flyora, as a 13-year-old, developed a full head of grey hair and wrinkles during the nine months of filming. Come and See – hell on earth Come and See is so nightmarish that it depicts an earthly hell. In fact, the films name is an allusion to the refrain from the Book of Revelation and its description of the apocalypse. This view of the Second World War as an apocalypse fundamentally distinguishes the movie from previous works of Soviet war cinema. They would traditionally present the events of the war in either a heroic or lyrical manner. Klimov, however, presents a view of the war as a world of madness and demonic possession. Not only people, but also animals are drawn into this horror. We see a stork soaked in the rain, standing motionless in the forest. It has nowhere to go and no one to fly to with glad tidings. Later, we witness the dying spasms of a cow ripped apart by a machine gun. The film attacks every sense possible, including sound. The loud crashing of bombing and gunshot deafens your ears. Meanwhile, emaciated human voices appear muffled and distorted by some sort of eternal ringing noise. Ordinary sounds are not safe, as they transform into ominous signs. Flies buzzing becomes a harbinger of a terrible pile of corpses slaughtered in Flyoras village. Amid the sensory overload of the movie, sometimes a line will jump out that makes your skin crawl. Amid a thunderous cacophony of barking dogs, roaring engines, curdling wails, billowing flamethrowers, and chattering machine guns, a German soldier directly addresses the viewer: “You should not be. Not all nations have a right to the future. ” « . ». Resolution to the madness But Come and See is not just a chilling nightmare. It is much more profound than just that. The films resolution displays its message of the indestructibility of good and humanity. Having survived the horror of a barn full of villagers being burnt alive, Flyora takes a rifle and shoots a portrait of Hitler. Each shot by this now gray-haired, wrinkled teenager seems to turn back time in a newsreel of Hitlers life. And the younger he appears, the more violently Flyora continues to fire. That is, until a photograph of Hitler as a child appears – a defenseless baby sitting in the arms of his mother. Seeing this, Flyora freezes in horror and then lowers his gun. His inability to shoot a child, no matter who he is, restores the world in tragic harmony.

Movie Stream Idi i smotri. Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies. Type the characters you see in this image: Try different image Conditions of Use Privacy Policy 1996-2014, Inc. or its affiliates. From Internet Movie Firearms Database - Guns in Movies, TV and Video Games LPO-50 flamethrower (Image courtesy of Sword of the Motherland Foundation) The LPO-50 ( Lyogkiy Pyekhotnyy Ognyemyot ( . light infantry flamethrower" is an unusual Soviet infantry flamethrower developed to replace the obsolete WW2-era ROKS-2 and ROKS-3 flamethrowers. It is electrically operated using four 1. 5-volt batteries for power, with electrically-detonated compression charges to pressurise the fuel, and electrically-fired pyro igniters at the muzzle: this means that the LPO-50 has three distinct 2-3 second "shots" rather than projecting a constant stream. After all three shots were fired the backpack would need to be refilled and fitted with new compression charges or swapped out, and the pyro cartridges at the muzzle replaced. This odd mode of operation was taken from Soviet WW2-era one-shot FOG flame mines, themselves a refined version of a weapon developed in Britain in 1940 called the Flame fougasse. As a result of only being able to fire three times, the LPO-50 is a rare case of a flamethrower with iron sights, with a hooded front and flip-up rear. Like the ROKS flamethrowers, the flame gun is designed to resemble a conventional gun (in the LPO's case a light machine gun, even mounting a totally pointless bipod) with the goal of making it harder for the enemy to identify flamethrower troops. Unlike the ROKS flame guns, there is no mechanical action: on the ROKS the flame gun had a working bolt-action which was used to cycle blank ignition cartridges. The Soviet preference for these was because pilot-light igniter flamethrowers have trouble igniting their fuel at extremely low temperatures, as Germany discovered during Operation Barbarossa. The fuel was either ordinary diesel or a special thickened mixture to improve range: maximum range is 20 meters (66 feet) with diesel and 70 meters (230 feet) with thickened diesel. LPO-50s were exported to many Warsaw Pact nations, and China produces a copy called the Type 74 which is easily distinguished by having two tanks instead of three. The Irish Republican Army also acquired several during the 1980s, which were believed to have been smuggled in from Libya. The LPO-50 was replaced in Soviet service by the RPO Rys napalm rocket launcher, ancestor of the RPO-A 'Shmel' starting in the mid-70s, with the LPO-50 being withdrawn from service by the 80s. A number of these weapons seem to have made their way into the hands of film armorers in Russia and Eastern Europe during the Cold War: they tend to be used as stand-ins for German weapons in WW2 movies. The LPO-50 flamethrower can be seen in the following films and video games used by the following actors: Specifications (1953 – 1980s) Type: Flamethrower Origin: Soviet Union Caliber: 15mm Fuel: Diesel or thickened diesel Weight: Complete assembly: 32. 6 lbs (14. 8 kg) empty, 50. 7 lbs (23 kg) full. Flame gun alone 7. 1 lbs (3. 2 kg) Length: Flame gun: 38. 1 in (96. 8 cm) Feed System: Three 0. 73 gallon (3. 3 litre) fuel tanks with pyrotechnic compression cartridges, three muzzle-mounted pyrotechnic igniter charges, also required 4 x 1. 5 volt batteries Fire Modes: Trigger safe / fire selector and 4-position tank selector with a safe position Film Title Actor Character Note Date Across the Gobi and the Khingan (Govi Khyangand tulaldsan ni) Imperial Japanese Army soldiers 1981 Come and See (Idi i smotri) SS soldiers 1985 Uprising 2001 Television Show Title Note / Episode Air Date Czterej pancerni i pies German soldiers 1966-1970 Video Games Game Title Appears as Mods Release Date Rainbow Six: Vegas 2 on images promoting Far Cry 2 2008 Far Cry 2 LPO-50 In strange no-backpack configuration with one fuel tank attached to the front of the weapon and an additional pressure tank, muzzle igniters shown as a pilot flame type. Incorrectly projects a continuous stream. Far Cry 3 Flamethrower highly customized, incorrectly projects a continuous stream 2012 Far Cry 4 2014 Far Cry 5 2018.