But as events unfold, he leaves, is accepted in a fighting unit, forced to change his newer shoes with a veteran's worn-out ones and is taken under the wing of these battle-weary foot soldiers. The movie opens with two kids digging for weapons on … Come and See is one of those movies that comes up late at night when fans of grotesque cinema gather to trade favorites. Fire consumed the streets, buildings and even the Volga. It was 1942 and Hitler’s armies had pushed the Eastern Front deep into Soviet territory. The camera closes in on faces until they fill the screen, demanding the audience look the victims in the eye. A pot of soup is still warm. We can accept it if we want, but it changes nothing. Come and See shows war as a process of personal degradation. Florya scrambles out a window and watches as the Nazis burn down the barn, its locked double doors heaving from the desperation inside. 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. Directed by Elem Klimov. With Aleksey Kravchenko, Olga Mironova, Liubomiras Laucevicius, Vladas Bagdonas. The raped woman at the end of the film bears a strong resemblance to Glasha and it's likely the same actress. This 1985 film from Russia is one of the most devastating films ever about anything, and in it, the survivors must envy the dead. Come and See’s brilliant soundtrack does most of the work of unsettling the audience. It must unfold as a surprise for you. We meet them. They want to join the partisans and resist the Nazis, but the guerrillas won’t take them without a weapon — and the beach holds many treasures. It’s whispered about in the same hushed tones that follow Cannibal Holocaust, The Sinful Dwarf and A Serbian Film. He rushes home where his mother begs him not to join the partisans. No one would ever make the mistake of saying that about Elem Klimov's "Come and See." Parents and children, old people and infants, are all packed in. The images evoke the Holocaust.

He wants to leave home and volunteer.

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.' Later Florya finds himself in a village as Nazi occupiers arrive. Come and See feels like a mission. In 1975, he won the Pulitzer Prize for distinguished criticism. ... Glasha dances happily on a log for her new companion. The buzzing flies fills the speakers. You will see how. It is hailed for the visceral power of its images and its entirely plausible scenes of carnage. But Flyora won’t be swayed. Come and See is hallucinatory and shocking. It’s a brilliant movie.

Both Klimov and writer Adamovich wanted to honor the dead and show the world what had happened to the people stranded on the Eastern Front. The fate of the blonde girl who bear's a strong resemblance to Glasha (likely intentional). He seems younger than his years in early scenes, and much, much older in later ones. He suddenly becomes convinced he knows where they're gone, and pulls her to run with him to an island in a marshland. Who is he?

This is a horrifying scene, avoiding facile cutaways and simply standing back and regarding. The cow's life was doomed one way or another, but these suggest how utterly incomprehensible death is to the cow. 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). He and the cow are in a field obscured by a thick fog when machine-gun fire breaks out — from where, he cannot tell. Forty years later, on the anniversary of the Soviet Union’s triumph over the Third Reich, the two men made a film about their experiences called Come and See. The young boy Flyora ages subtly, his youthful glow fades as wrinkles surround his eyes and his hair turns gray. Miles Morales Swings Players into the Future of Gaming, Lasting Fright: The Staying Power of The Cabinet of Dr. Caligari, Mr. Feelings of dread and foreboding drip from that scene. TVTropes is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The music swells. Permissions beyond the scope of this license may be available from thestaff@tvtropes.org. “The Byelorussian genes remember that holocaust because every fourth person perished there.”. As he's shoved in as part of the seething crowd, Florya's eyes never leave the windows high above the floor. Glasha (Olga Mironova), innocent and warm, dreams of her future.

It is not Glasha, but the woman who was dragged from the barn.

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That we struggle to find uplift in the mire of malevolence? To look at him is to see a mind reeling from shock. He puts on his father’s over-sized suit and leaves his village just as dawn breaks. 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. I must not describe the famous sequence at the end. Yet Come and See haunts the viewer in ways the most sordid grindhouse celluloid show can’t. Soul! 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. The fathers stay with their families. There is a sustained sequence as they methodically round up all the villagers and lock them into a barn. “Thank God that boy … didn’t go mad,” Klimov said of his young lead. It lasts maybe three seconds, but those three seconds both release the tension earned in the cabin and ratchet up the intensity of the overall film. He read aloud to them the first-hand accounts of people who had survived the genocide, and listened to their stories in return. He does not shoot her; indeed, he never shoots anybody.

One would like to think the depiction of the Nazis is exaggerated, but no. He had never seen anything like it, but the worst was yet to come. You can tell. The eventual death of the beast is told in a series of images that mirror the inexorable shutting down of life.

The Nazis had a solution to that problem. Therefore it's unclear if it really is Glasha, or Flyora is just imagining the woman who escaped the church and was gang-raped as Glasha - he certainly utters words Glasha said previously. Just listen to the noise that plays while a smiling Glasha dances in the rain. One of the bloodiest battles in human history raged behind him. It is not Glasha, but the woman who was dragged from the barn. He toys with an unpleasant little simian pet that clings to his neck. The city of his birth burned. In his fugue state, Flyora thinks it is her, but we never see her character again after the village. The SS burned that church and they did let some people flee if they didn’t have children. Then there’s the sound. “It kept me from the tiniest falsehood. 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. That subject was too sacred for us to be false,” Klimov explained during an interview late in his life. It is unutterably depressing, because history can never undo itself, and is with us forever. This film is much more than an allegory. Florya is not articulate and may be mentally slow, but he is touched. Hurt by the adults leaving them behind, the pair share a pleasant time in the woods while avoiding the war. Young Klimov poked his head out from under the blankets as his family crossed the Volga River. Nazi Germany wanted the territory to be a new frontier for ethnic Germans, but millions already lived there. The Nazis call for any able-bodied men to come out. He doesn't see everything. Industrial noises drone over muted classical music as if Genesis P-Orridge is covering Mozart. It’s one of the most devastating, haunting and bizarre movies I’ve ever seen. By now his only instinct in life has become to escape death. The sound becomes muted, and there is a faint ringing, which makes the reality of sound frustratingly out of reach for him. There's a sequence in which Florya becomes involved with some cows who will become food for starving troops. It's revealed that he's calling out to children who have concealed themselves among the reeds.

The Mozart descends into the film like a deus ex machina, to lift us from its despair. 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.”. It has the grammar of an art film and the tone of an exploitation movie. Is it true that audiences demand some kind of release or catharsis? They grow friendly. Come and See is a Soviet film about the Nazi extinction campaign in Byelorussia during World War II. Why is he fed up with them? He is almost studious in his murderous commands. The final title card says, “The Nazis burned down 628 Byelorussian villages together with all the people in them.”. The survivors envied the dead. Glasha is as pretty as any teenaged girl, but her only dress is an ugly black thing, and her hair is a mess. What follows is, in director Klimov’s words, “an excursion into Hell.” Flyora hangs out with the partisans in the forest, meets a beautiful young girl, travels back to his village and wanders across the bloodlands as Nazi troops rampage through the villages of his homeland. The swamp that Florya and Glasha wade through, for example, has a thick gelatinous top layer that seems like a living, malevolent skin. Now she returns in the aftermath of Perekhody, victim of a gang rape by the plundering Nazis. It pretends to roll back history.



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