L'ascension

Having just seen this, I find it hard to believe that it is not better known. This and the slightly-better-known, but almost-as-shamefully-neglected COME AND SEE (Klimov, 1986) must be two of the greatest war films. They are meaningful, powerful, incisive. THE ASCENT is also gifted with a sparingly-used, but brilliantly trenchant score by Schnittke.

Is one's life the most valuable thing one can possess? Are all ideals and philosophies mere fallacy, not worth sacrificing one's life for? These are the questions this film touches upon. And does so brilliantly.

By today's standards, the film might be viewed as somewhat slow-paced and indeed, without giving too much away, certain scenes are a bit stretched out and in my opinion, could have been made shorter for stronger emotional impact. Nonetheless, the amazing performance by all the main actors kept me glued to the screen most of the time. The hopelessness and the terror of war, intensified by the unforgiving Russian winter, permeates the film from start to finish.

The film presents us with food for thought not covered much by modern cinema, touching upon something that isn't often discussed openly in modern society. We avoid it because it lurks inside each of us and we fear it - venality and betrayal in face of death.

Our life is everything we know - the entire world ends with it, as Portnov, the Nazi interrogator says in the film. Would YOU sacrifice it for something? For anything? This film will force you to ponder this question and reflect on your values and yourself as a human being.

Larisa Shepitko's THE ASCENT (1976) is an extraordinary, gruelling account of the partisans' fight against the Nazis in German-occupied Belorussia, The Ascent reflects the Russian obsession with the horrors of the Great Patriotic War, but unusually is both steeped in religious symbolism and ready to acknowledge the existence of the less than great Russian collaborator. The true battle is not with the Nazis, who hover in the background as mere extras, but between the Russian Nazi investigator and Sotnikov, the captured partisan who finds the spiritual strength to go to his death unbeaten. With its many references to the Crucifixion, the story takes on heroic proportions glorifying the sufferings of the martyr and his influence on future generations. A remarkable piece of work.

This is one of the very, very few films that are so overwhelming that you are very unlikely to watch it more than once or twice in your lifetime (other examples are Claude Lanzmann's documentary Shoah and Come and See by the director's husband Elem Klimov - which covers much the same unbearable territory but in a very different way).

I suppose this is just as well given the difficulty of ever seeing a print.

Apparently it's extraordinarily overt Christian symbolism and admission that there were active Russian collaborators, ensured that it was hardly ever seen in the USSR - and of course post-soviet Russia has very little interest in films of that era.

The one time I saw it in London was in a festival of Russian movies shown during the Glasnost era (i.e. probably c.1988) - however it apparently has been shown several times in the UK more recently so at least one subtitled print must exist here.

As far as I know it has never been released in the west on DVD or video so if you haven't seen it, your best chance is probably to join a film society and endlessly nag them to find a print and screen it.

If you have a chance, see this Russian(how should I call them: gems, masterpieces,hidden treasures?), war movies like this one, or The dawns here are quiet, or Proverka na dorogah... And , right after that, watch again the American war movies, or the international productions, those one with the allies and the Germans,etc. Or, even worse, watch the Italian war movies. Everything from the west will seem shallow, contrived, ridiculous, in comparison with the Russian movies. I am sooooo stunned by the quality of the aforementioned Russian war movies that I cannot find the words to praise enough their shattering superiority over Anglo-Saxon war movies.