Come and See (The Criterion Collection)

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Adamovich, Ales]; Брыль, Янка [Visor, Vanya]; Калесник, Уладзимир Андрэевич [Kalesnik, Uladimir Andreevich] (1977). Я из огненной деревни...[ I Am from the Fiery Village...] (in Belarusian). Minsk: Мастацкая лит-ра [Art lit-ra]. {{ cite book}}: CS1 maint: multiple names: authors list ( link) CS1 maint: numeric names: authors list ( link) Alexei Kravchenko (SD, 13 Mins. ) - Another 2001 interview with the actor that played Flyora where he discusses how he got cast in the film, life on set, and working with the director and other actors. Also in Russian with English subtitles. a b c d e Egorova, Tatiana K. (1997). Soviet Film Music. An Historical Survey. Translated by Tatiana A. Ganf and Natalia Aleksandrovna Egunova. Reading, Berkshire: Harwood Academic Publishers. p. 243. ISBN 978-3-718-65910-4. Come and See had its world premiere in the competition program at the 14th Moscow International Film Festival on 9 July 1985. [33] It was theatrically released on 17 October 1985, [34] drawing 28.9million viewers [10] [16] and ranking sixth at the box office of 1986. [10] 2017 restoration [ edit ] For eight years, [12] 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". [9] Alongside this, the death of Klimov's wife Larisa Shepitko, also a filmmaker, in 1979 forced him to first complete the work she began on what was to be her next film, Farewell; it would finally be released in 1983. [15] 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, to Come and See from the original, Kill Hitler [16] [17] (Klimov also says this in the 2006 UK DVD release). [18]

Film4's 50 Films To See Before You Die". Channel 4. 22 July 2006. Archived from the original on 27 April 2008 . Retrieved 19 February 2020. Disc producer Jason Altman’s extras de-mystify the legend of Come and See. Interviews with the director, star and the production designer from 2001 present two serious artists and a young man who rose to a difficult challenge. German Klimov contributes a new, quite moving tribute to his artist brother, who just couldn’t make himself direct another movie after this one. Cameraman Roger Deakins lavishes praise on the way the film looks. Also good is a 1985 promo with some behind-the-scenes shots showing Klimov directing. 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. Release [ edit ] Original release [ edit ] I especially like the first half an hour in the woods, its so incredibly foreboding. The nazi death machinery paid a huge emphasis on sound, something the american army replicated years later, and its something you feel when watching the criterion BD: The power of the sound.a b c d e f g h i j 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.

Rubezh, a partisan fighter, comes across them, and takes them to meet the surviving villagers, including the badly burnt village elder, who tells Flyora of his family's deaths, and that Flyora should not have dug up the rifles. Flyora attempts suicide out of guilt, but Glasha and the villagers save and comfort him. In the end, Criterion has put together a satisfying collection of supplements, covering the film’s production, it’s subject matter, those behind it, and it’s visual style. Closing Klimov’s answer to that comes at the finish, which I won’t spoil. A sudden stylistic gear-shift throws the film into a reverse-apocalyptic montage worthy of Kuleshov or Pudovkin, that manages to express some of the author’s intention not just to kill Hitler, but to kill the Hitler demon inside of each of us.Bergan, Ronald (4 November 2003). "Obituary: Elem Klimov". The Guardian. London . Retrieved 8 June 2009. 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 Aleksei Kravchenko, who played Flyora and who later became a good actor, everything went smoothly.

a b c d e Youngblood, Denise Jeanne (2007). Russian War Films. On the Cinema Front, 1914-2005. Lawrence, Kansas: University Press of Kansas. p. 197. ISBN 978-0-700-61489-9. Stein, Elliott (18 August 2009). "Come and See". The Village Voice. New York City. Archived from the original on 22 October 2012 . Retrieved 25 February 2014.

Come and See: Other Editions

The 40th anniversary of the Great Victory was approaching. [6] [12] [13] 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. Klimov did not make any more films after Come and See, [66] 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." [20] Accolades [ edit ] With around 133 minutes of bonus material, there is plenty of information about the production and making of the movie to watch, including new and vintage interviews with the cast and crew, documentaries with real people who went through the Holocaust, and more. Each extra is worth the watch. Come And See takes its title from The Apocalypse of John, where Johnny Cash used the words in his song "The Man Comes Around", stating, "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." Those are truly terrifying words, and they certainly ring true throughout this tragic, yet poetic movie that's full of unimaginable chaos and beautiful magic realism. These two photos (Klara; left, and Adolf; right) were merged by Klimov to create the picture that Flyora stops shooting at.

a b c d Марина Мурзина [Marina Murzina] (20 October 2010). Иди и смотри: съёмки превратились для Элема Климова в борьбу с цензурой[ Come and See: filming turned for Elem Klimov into fight against censorship]. Аргументы и факты [Arguments and Facts] (in Russian). No.42 . Retrieved 30 August 2016.Give any 20th-century war about fifteen years and its immediacy begins to fade. Movies set during the conflict cease being issue-driven vows of resistance and vengeance, as the urge to create feel-good entertainment begins. We Americans are strange in this way: showing strength by not taking things seriously results in TV shows like Hogan’s Heroes. We applaud the outrageousness of Mel Brooks’ movie jokes about Nazis, and an argument can be made that that approach is healthy. America paid a high price in human life in WW2, but the homefront didn’t suffer directly in WW2 — our cities weren’t bombed, we weren’t driven from our homes by armed invaders. In 1975 when Elem Klimov and author began planning a movie to be called “Kill Hitler,” he states that even Russian movies were beginning to lighten up about the war, He thought that Russian movies hadn’t faced up to the reality of the genocide. The older generation that experienced it wished to forget, and the younger generations hadn’t experienced it first-hand. It took Klimov six or seven years to get permission to film his war movie idea, permission that came only when the country needed a commemorative picture for 1985’s 40th anniversary Victory Day. 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. The director’s brother, German Klimov, also records a new interview, running 27-minutes. He covers some of the same ground that his brother did in the other interview (including how the title Come and Seecame about, though it differs a bit here) but expands on many details, like the events that led up to the film finally being made, and then production specific things like filming the barn sequence, where they ended up using locals who were probably around when the actual events happened. He then closes off discussing his brother’s heading of the Soviet Filmmakers Union. a b c "1985: 14th Moscow International Film Festival". MIFF. 28 June – 12 July 1985. Archived from the original on 14 May 2021 . Retrieved 17 July 2020.