Come and see movie analysis. 'Come and See' Review: An Unforgettable Fever Dream of War’s Surreality 2022-10-20
Come and see movie analysis
Rating:
5,1/10
1950
reviews
Come and See is a 1985 Soviet war film directed by Elem Klimov and starring Aleksei Kravchenko and Olga Mironova. The film is set during the Nazi occupation of Belarus in 1943 and follows the journey of a young Belarusian partisan named Florya as he joins the resistance against the German invaders.
One of the most striking aspects of Come and See is its use of cinematography and visual storytelling. The film employs a number of techniques, such as handheld cameras, close-ups, and long takes, to create a sense of immediacy and realism. This visual style immerses the viewer in Florya's perspective and makes the horrors of war feel all the more palpable.
Another notable aspect of the film is its portrayal of the psychological effects of war on its characters. Florya, in particular, is shown to be deeply affected by the violence and suffering he witnesses. As the film progresses, he becomes increasingly traumatized and paranoid, eventually breaking down completely. This portrayal of the psychological toll of war is rare in cinema and adds a layer of depth and complexity to the film.
The film also does an excellent job of depicting the brutalities of war and the dehumanization of its victims. The Nazis are shown committing numerous atrocities, including mass shootings and the burning of villages, and the film does not shy away from depicting the graphic consequences of these actions. This unflinching portrayal of war's horrors serves to remind the viewer of the true cost of conflict.
Overall, Come and See is a powerful and emotionally charged film that uses its visual style and character development to convey the horrors of war in a deeply affecting manner. Its portrayal of the psychological effects of conflict and the brutality of war make it a must-see for anyone interested in the subject.
How 'Come and See' Uses Horror to Make the Best Anti
That we struggle to find uplift in the mire of malevolence? While the children burn, Flyora looks on in a blind daze as a group of soldiers gather around him and one presses a pistol to his skull. Florya scrambles out a window and watches as the Nazis burn down the barn, its locked double doors heaving from the desperation inside. . After watching it the first time, I read some reviews of the film, and it is critically acclaimed and also acclaimed by audiences as well. In all the ways Spielberg was able to get the audience to connect with characters, and present hope without sacrificing the horrors of the Germany's war crimes, Elem Klimov seems to fail at. Director Klimov tried hypnosis on Florya L. The unforgettably barbaric facts regarding the territory where the film takes place are given in a title card toward the end: In what the Soviets called Belorussia, on the westernmost or nearest-to-Germany reaches of the Nazi advance, two million people—one in four members of the population—perished.
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9 must
This incident, and the story of the boy himself, are based on fact. One can look at Andrei Tarkovsky's 1962 Ivan's Childhood, a masterclass on how to expertly portray the negative effects on children during the war. For example, from whose perspective is this clip shot? In this movie, the Nazis are not enemies to be vanquished, but a monstrous and inhuman presence, as they were to the vast majority of their victims, including the untold millions who were The film is mediated through the highly subjective, traumatized consciousness of Florya, a 14-year-old boy in Belarus in 1943. It begins, in 1943, with a scene of impish play, as Flyora and a friend search for weapons amid the remnants of an earlier battle while German warplanes soar ominously overhead. In particular, there's a scene where he and the girl, separated from the army unit, return to his family farm, where he expects a warm welcome.
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Come and See 1985, directed by Elem Klimov
He zeroes in on a sad, horrific sight, like the burned face, neck and shoulders of the village elder, just when we expect him to avert his eyes. He is a member of the National Society of Film Critics and the Los Angeles Film Critics Association. However, there's nothing romantic about World War II. . CITE AND USE YOUR PIPER and or GIGLIO Readings or a Bb approved site! And I was little. For eight years, Come and See from the original title, Kill Hitler The film was shot in chronological order over a period of nine months. Florya, perhaps 14, lives nearby with his family.
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Film Analysis
. October 31, 2016 at 7:02PM A stellar film, strange and horrifying. The legal prosecution of individuals responsible for giving orders on that fateful day was still a live issue when the movie was being put into production. 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. Klimov refuses to sanitize or sentimentalize the conflict that in his native language is known as the Great Patriotic War. The translator even assures the incredulous partisans that this is indeed what the man is claiming.
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Come and See (1985)
There is a sustained sequence as they methodically round up all the villagers and lock them into a barn. The audio quality of the movie changes L. This part of the film is based on the Video is no longer available: www. The eventual death of the beast is told in a series of images that mirror the inexorable shutting down of life. Six hundred twenty-eight villages were deliberately razed to the ground, their inhabitants massacred. They are only children—orphans of the storm—but what they are about to go through should never be experienced by any human being. Retrieved 17 July 2020.
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Atrocity exhibition: is Come and See Russia’s greatest ever war film? — The Calvert Journal
The girl, we can see, is a few years older than the boy. In one of the books the film is based on Khatyn , Flyora grows up to be a university teacher and have a son with Glasha. He is still young. It seems that when something occurs, it seems overcooked. We experience the German invasion of Belarus through Flyora Aleksey Kravchenko , a teenager who joins the local partisan militia after discovering a rifle buried in the sand. We are often looking from the POV of Florya, but just as often the images are unattributed to a consciousness or character; the camera bears witness, and the overall effect is one of surreality, a quasi-breaking of the fourth wall where no one speaks into the camera, or is seemingly aware that they are in a film. The credits roll as these buddies saunter down a hill toward drift-filled trenches containing Soviet rifles.
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Review: Why you must see 'Come and See' on the big screen
The colours were bland and flat. Yet in just this grim insistence on authenticity lay the seeds of subsequent controversy. Come and See: Orphans of the Storm". I'm going to be a little impolite and take a pop at Spielberg in contrast of the war genre in general. The war film is one of the most Come and See. She apparently has no clue what's going on and would almost certainly die of exposure or from wild animals. .
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Come and See (Film)
The partisans resist the urge to stoop to the death squad's level of brutality, showing that they have retained their humanity even in the face of such evil. However, this was deemed inappropriate at the time. Following the socialist realist tradition of depicting children at war, the viewer is subjected to the trauma experienced by Flyora as he is transformed from a cheeky adolescent into a ravaged young man. Come back to the film. In essence, there were only three films of stature, and one of these, Farewell 1983 , belongs equally, perhaps, in the filmography of his wife, Larisa Shepitko, whose project it had originally been, before she was killed in a car crash.
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Come and See Film Analysis webapi.bu.edu
One can obviously see the impact Elem Klimov had on Steve Spielberg's Schindler's List, but Spielberg's film is a success because it is able to create tension by making the viewer worry about characters because he made them likable and therefore you fear for their safety. The stunning, nearly square-framed cinematography is by Aleksei Rodionov. Klimov and his cinematographer, Aleksei Rodionov, employ Steadicam not for smooth, mesmerizing effects but to trace jagged arcs in the irrational movements of panicked Belorussians and of Nazis staging genocide. Before the fire is lit a plucky solider announces that those without children will be spared. Florya, a young partisan, left behind as his unit moves to prepare for a renewed German advance, returns to his village to find only a mass of bodies, including those of his family, and later witnesses the entire population of a near-by town being machine-gunned and burnt to death. The statistic defeats the imagination even as this movie reawakens it.
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