(Soviet censors got in the way.) Once on the island an enraged Florya learns the fate of his family from Glasha and appears to suffer a complete mental breakdown. Other soldiers then appear, they look for partisans under the table, make jokes, one smashes a window, the tension rises. Come and See is rife with running Steadicam shots and deliberately unsettling compositions. The naked boy, trapped in his lowly position crouches embarrassed, helpless. 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. They think if they treat him well they will be safe. 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. Under no circumstances must passwords to the Come and See website be given out. 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. Klimov uses this melancholy unsettling sound effect to alert us to the fateful process, we then have a shot from the plane looking down at the boys on the beach, but the image of them is blurred and distorted German martial music plays incoherently in the background. Along the way he meets Glasha, an enigmatic peasant girl and sometime lover of the Partisan leader. From the awards race to the box office, with everything in between: get the entertainment industry's must-read newsletter. Watch Queue Queue One of the most notorious scenes in the film concerns the return of Florya and Glasha to the boy’s now ominously deserted village in expectation of a warm homecoming. Florya, ignored even by the executioners, has survived in the physical sense, but that is all. Nazi atrocities take center stage in Elem Klimov’s unflinching, recently restored masterpiece. © 2021 Condé Nast. This is a film that argues for and thoroughly understands the urgent, present-tense, shifting surreality of war. This perceived weakness nagged at Klimov, leaving him with a sense of which he needed to resolve. Then, the whole pace changes and another shift occurs in the dramatic energy which Klimov employs so effectively throughout the film. The killers departing with their plunder cringe past walls of flame behind which nothing could survive. Florya lashes his bare chest vigorously with foliage to enliven his flesh, recalling Max Von Sydow’s character in Bergman’s The Virgin Spring. The film is set in 1943 and opens with two Byelorussian boys, Florya (Aleksei Kravchenko) and his friend, exploring abandoned fortifications from a previous… 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. In the barn scene near the end, a man peeks out the window and is immediately shot. Movies. 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. Demented music from loud speakers plays along as the violence issues forth. Arc will also publish two further collections of translations of long neglected Belgian poets Emile Verhaeren and Georges Rodenbach in 2010. 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. 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 is not merely a narrative reimagining of that experience. Kravchenko’s very face wizens as the film bears on and his initial travails spin beyond his control. But symbolically he still stops short of shooting the last bullet into the image of Hitler as a babe in his mothers arms. 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. ‘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. 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 … 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. Real bullets were used in such scenes for authenticity and the images of tracer rounds shooting across the sky is both beautiful and cataclysmic. Here in the bucolic forest glade that has somehow repulsed the earlier intrusion of bombs, something is forged through light, sound and visual effects resulting in an emotively engaged visionary force which defies rationality. Watch Queue Queue. The setting is Nazi-occupied Belarus, 1943. The idea that “Come and See” is not a straight narration of history is pretty evident in the massacre scene. 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. 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. 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. 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 discarded gun out of a sandy trench with the intention of joining the Soviet partisans gathering in his village. 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. 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. You could say, I guess, that the boy learns his lesson. The best scene involving the Red Army Commander was when they had captured an Einsatgruppen Unit , and the SS soldier , who knew they were facing death was allowed to speak , after there own Commanding Officer was pleading pitifully for his own life. 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. 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. 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’. Given the scenes witnessed during the film, this is some achievement, especially since Klimov was at pains to make his sets as authentic as possible, even using live ammunition to achieve realism. We too have ‘seen’ but Florya racing on ahead has not because he did not happen to turn around. The film closes with Florya rejoining his partisan unit which marches purposefully into the forest to the strains of Mozart’s Requiem. Flyora is a character, but this film is not about his character, in the moral or personal sense—even as it sets him up to feel, distressingly, that his irresponsibilities have resulted in the deaths of others. 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. 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. Cast: Alexei Kravchenko, Olga Mironova, Lyubomira Lautsyavichyus, Vladas Bagdonas, Yurs Lumiste, Kazimir Rabetsky.. Klimov manages to capture this monstrous reality in one simple domestic scene. Actors are constantly performing directly to camera, confronting us head-on with their terror. Thankfully, Janus Films has recently remastered “Come and See,” giving it the 2K restoration treatment and is releasing the film back in theaters. 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. 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…. Their fear is not abstract. 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. The ordeal of filming and the difficult subject matter, placed a severe strain on all concerned with it, none more so than its lead actor the virgin performer Alexei Kravchenko, who was only thirteen years when filming began. 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. 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. 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. The pat by a loving owner’s hand on the helmet completes this fleeting but all too persuasive image. 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. Its title was inspired by Chapter 6 of The Apocalypse of John—an invitation to see what hell the Four Horsemen of the Apocalypse hath wrought. This is signalled by the arrival overhead of a German reconnaissance plane and the morbid drone of its engines. ‘Some races do not deserve to exist’. 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. Glasha dances happily on a log for her new companion. 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. As the firing subsides he sleeps, the cow’s bloated belly his pillow. 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. From the nearby fields trucks unload the obscure shapes of soldiers. Klimov uses the drone of the plane as soundtrack in certain places, one suddenly notices it creeping in at times of elevating tension and impending peril. A number of these were at various stages of development in the years immediately after Come and See. 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. Animals also make uncanny appearances in the film and Klimov’s camera lingers on them before and after violent incursions, for example when Florya and Glasha hide up following the attack in the fir forest, a stork wanders about and peers in at them in their makeshift bivouac. In her clinging rain-soaked bottle green dress she blooms with the reckless vitality of youth and seems in that instant impervious to horror. Klimov gives the viewer no time to take in the scale of the previous scene. To revisit this article, visit My Profile, then View saved stories. All rights reserved. COME AND SEE is a three part audio project designed to transport listeners to the time of Jesus and allow them to feel like they are very much in the middle of each scene, witnessing the events firsthand. 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). 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. 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. 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. As if this were not enough, the depraved rabble then commence to hose the building with bullets. Sign up for our daily Hollywood newsletter and never miss a story. — 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. In this intense exchange, as in so many others throughout the film, Klimov manages to encapsulate the terrifying supremacy of derangement and inconceivable human debasement that mark the Hitlerian adventure in the East. 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. First published in 3:AM Magazine: Thursday, February 4th, 2010. 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. 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. 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. 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. But through Klimov, you are forced to live it. Compra Come and See [DVD] by Aleksey Kravchenko. 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 table is set and laid with food in preparation. 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. 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. The bestial scene inside the packed church is one of unimaginable terror and pandemonium. 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. Will be used in accordance with our Privacy Policy. Use of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21) and Your California Privacy Rights. Contacts | Submissions | Buzzwords | Twitter | Facebook, © 2000-2021 3:AM Magazine | Design & build by Rhys Tranter, Florian Kräutli and STML, » Guruphobia: Satori Salesmen and their Seductions, » Post Void Dribbling: On Rebecca Gransden’s Sea of Glass. Looking for more? He only produced five films, enduring protracted periods between them of frustration and deliberation exacerbated by personal tragedy. "Come and see me for once" Venire e vedere me per la prima volta "You don't ever come to me, you don't ever come to me" (yeah) Tu non sei mai venuta da me ,non sei mai venuta da me. The peasants close in to fuss over him. 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. But the scene in question belongs to a category unto itself. To believe that would be to believe that atrocity is guided by consequence or reason. The opening scene finds Florya and another boy digging in a sandy field. But ultimately nothing came of these plans, in large part due to the paralysing internal politics within the Russian film industry, but also because essentially Klimov sensed he had delivered in as uncompromising a fashion as possible those emotional states he had wished to give full expression to. SPEDIZIONE GRATUITA su ordini idonei Klimov, by his own admission in an interview shortly before his death, confessed now he had ‘seen’, he had said all he wished to say. This easy to use teacher-friendly material has been written by a group of experienced diocesan advisors. Suddenly a flare mounts the sky and a fierce fire fight breaks out around them. 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. Here, what could be a clumsy death symbolism is perfectly handled by Klimov. Will Stone, born 1966, is a poet living in Suffolk. A Great film made in Byelorussian SSR back in 1985. 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. 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. The setting is easily recognisable, World War II and two opposing sides, the partisans and the German occupiers are locked in a grim conflict that offers little alternative but mutual extermination. Come and See – An immersive audio experience. Once the massacre gets under way the animal is spared the spectacle when a German helmet is placed over it. This video is unavailable. There was a genuine fear that the boy might absorb so much horror he would be left permanently damaged by his experiences. This scene has echoes of a similar one in Tarkovsky’s Andrei Rublev, when barbarian hordes sack a church, massacring the innocents inside. A Catholic Primary Religious Education programme for Foundation and Key Stages 1 and 2 published in July 2012. AKA: Go and See: Come and See, Idi i smotri, Iди i дивись, Go and Look, Go and see. In a later scene, the German commander fondles his pet marmoset while his men prepare to torch the church. 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. Watching Come and See evokes the sense that the violence we’re seeing is alive, real—that the screen isn’t a barrier, and neither is historical distance. Then the cow is inevitably struck along with Florya’s companion. 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. ABOUT THE AUTHOR This is the first taste of the countless episodes where a sense of indefinable derangement fuses the film. 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. “The lamb opened one of the seals The storyline may be familiar, a young boy joins the partisans filled with anticipation and idealism only to be swallowed up in the mayhem of conflict. 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. Come and See was directed by Elem Klimov and released in Moscow in 1985 for the 40th anniversary of the end of WW2. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. 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. But this war film categorization becomes onerous with over simplification when one fully appreciates the striking visionary elements and artistic achievements Klimov attains. This isn’t that kind of movie. 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. In the opening scene when young Florya, desperate to join the local partisans and requiring a rifle for admittance, arduously digs a gun out of the sand on a deserted beach, his fate is sealed. As part of our Affiliate Partnerships with retailers is placed over it Partisan... Then the cow is inevitably struck along with Florya rejoining his Partisan unit which marches purposefully into the forest the... Her clinging rain-soaked bottle green dress she blooms with the reckless vitality of youth seems... 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