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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.
I have the right to destroy millions of people of a lower race who breed like worms. 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: " Belorussian villages were destroyed, along with all their inhabitants. According to the director's recollections, work on the film began in The 40th anniversary of the Great Victory was approaching.
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 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 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. The events with the people, the peasants, actually happened as shown in the film.
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. I kept a most severe diet, and after the filming was over I returned to school not only thin, but grey-haired. 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. The extreme close-ups of actors staring into camera is a recurring motif. It is currently out-of-print.
The film became available on FilmStruck,  the streaming service for the Criterion Collection from its opening on 1 November to its closing on 29 November , and from November on the new Criterion Channel service. The German military march "Old Comrades " is played as the German army begins its attack on the village.
And what does this signify? A fantasy, I believe, and not Florya's, who has probably never heard such music. The Mozart descends into the film like a deus ex machina, to lift us from its despair. We can accept it if we want, but it changes nothing. It is like an ironic taunt. 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".
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 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.
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.
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 " [ failed verification] and it's lyrics' description of it i.
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. Powerful material, powerfully rendered 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.
The director has elicited an excellent performance from his central actor Kravchenko". 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". In 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.
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. 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. 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. 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.
The website's critics consensus reads, "As effectively anti-war as movies can be, Come and See is a harrowing odyssey through the worst that humanity is capable of, directed with bravura intensity by Elem Klimov. In , Klimov said, "I lost interest in making films Everything that was possible I felt I had already done. British Board of Film Classification.
Retrieved 29 May British Film Institute. Retrieved 5 December Box Office Mojo. Retrieved 6 March War and Film. Islington: Reaktion Books. ISBN The Kings and the Pawns. New York City: Berghahn Books.
The stories of survivors from the burned villages were collected in the s 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 See Adamovich et al. Minsk, p. Rotten Tomatoes. Retrieved 18 February Academy of Motion Picture Arts and Sciences. Retrieved 5 March Retrieved 30 April A Testimony of Jesus Christ - Volume 1. A Commentary on the Book of Revelation. Come and See ".
The Guardian. Retrieved 4 July Khatyn memorial. Retrieved 6 June Russian War Films. On the Cinema Front, Lawrence, Kansas: University Press of Kansas. The Calvert Journal. Retrieved 20 July The Criterion Collection. Retrieved 11 November Retrieved 30 August The Real History Behind the Films. Retrieved 20 February Retrieved 31 March The New York Times. Retrieved 5 May Moscow Believes in Tears.
Russians and Their Movies. Washington, D. Venice Film Festival. Retrieved 19 February Retrieved 26 February Retrieved 28 February Retrieved 18 February — via Twitter. Retrieved 18 February — via Vimeo. Soviet Film Music. An Historical Survey. Translated by Tatiana A. Ganf and Natalia Aleksandrovna Egunova. Reading, Berkshire: Harwood Academic Publishers. Laughing Matters. Bristol: Intellect Books. Retrieved 25 February The Legacy of the Siege of Leningrad, — Myth, Memories, and Monuments.
Cambridge University Press. Vienna International Film Festival. Bloomington, Indiana: Indiana University Press. The Numbers. Retrieved 30 May The Washington Post. Retrieved 7 January The State of the Arts. Entertainment Weekly. Retrieved 20 January The Village Voice.
New York City. The A. Chicago: Onion, Inc. July November
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