Requiem pour un massacre

What most of the foreign viewers perhaps don't understand is that the factual side of the movie has always been a common knowledge among millions of Russians especially those of older generations. People like me, who were born 10-15 years after the war ended, knew it all along first hand from the stories told by parents and grandparents actually living through those times and events. My own mother at the age of seven was thrown by German soldiers into a barn that got lit, her front teeth were knocked out by the butt of a German soldier's rifle and she, along with tenth of other village kids, was saved by my grand-mother and other villagers only because some partisans had chosen to attack and deliberate the village that day. What most of Western viewers find horrifying, shocking and disturbing is nothing but the truth being accurately depicted by some later movie makers. This movie is pretty much like a documentary that could actually be shot with the help of some sort of a "time machine" in case there was one in 1985 when the movie got filmed.

I have a bad habit of reading too many reviews and comments about a film before I've seen it, mainly to get an idea about whether it's going to be worth a couple of hours of my time watching it. As a result, I am often slightly disappointed with much of what I see, as all the hype that I've read about a film kind of blows my expectations out of all proportion. I had a feeling this would be the case with Elem Klimov's 'Come and See', a film I'd read a lot about, particularly here on the IMDb. (Imagine my "excitement" when, having tried to see the film for nearly a year, I discovered it was to be released on DVD a week or two ago from today!) Well, I finally watched the film yesterday and... well, nothing could have prepared me for the sheer intensity and unflinching visceral horror of the atrocities that 'Come and See' invites us to... come and see. (Has anyone commented before on what a clever title that actually is...?) This is one of those films, like, say, 'Requiem For A Dream' or 'The Magdalene Sisters' (both of which, though great films, are simply not in the same league as Klimov's film), that one does not (obviously) so much enjoy as submit oneself to. By the end of such films we are left numbed and shell-shocked, wondering what we are supposed to do with the intense emotions that have been evoked within us. Yes, I felt like the ground had been pulled from beneath me; yes, what I saw in that film made my blood boil, my head hurt and my heart pound; and, yes, it showed me things I'd seen before but to a degree of intensity and detail that I had not experienced before. The point though, I guess, is that the role of cinema (and art in general) is not to offer answers or tell us what to think but to simply show us particular events and characters and allow us to come to our own decisions about what those things 'mean'. I'm rambling now, but I'll simply end by saying that 'Come and See' is, with its outstanding technical and artistic credentials aside, a film whose very title alone demands that it be seen. It is the work of a visionary, a cry of despair from the depths of hell, and an important reminder of humanity's capacity for inhumanity Go and see...

This is the greatest war movie ever. The best way to describe it, I reckon, is to pass on a newspaper article written by Ilya Ehrenburg during World War II when all the things which happen in "Come and See" were happening:

NIKOLAI VLADIMIROVICH -- ONE YEAR OLD Red Star, November 30 1943

How much the Germans have taken from us! They have taken from us not only loved ones, homes, and possessions. Life was complicated. There were dreams, joys, people, many books, many countries. But now everything in me is unchangeably focused on one thing: on the German. I see him -- blue-eyed and inhuman. He walks and kills, he sings and kills, he laughs and kills.

Among the papers of the town head of the village of Vyazovaya, recently liberated from the Germans, was found the following document:

"List of executed residents of the village of Vyazovaya, Uzninskaya region:

1) Muzalevskaya Natalia Ivanovna. 43 years old. 2) Muzalevskaya Natalia Nikolaevna. 18 years old. 3) Muzalevskaya Diana Nikolaevna. 16 years old. 4) Muzalevsky Lev Nikolaevich. 13 years old. 5) Muzalevskaya Valentina Nikolaevna. 9 years old. 6) Muzalevskaya Tamara Nikolaevna. 5 years old. 7) Muzalevskaya Rima Nikolaevna. 3 years old. 8) Davydov Vladimir Ilych. 35 years old. 9) Davydov Anatoli Vladimirovich. 8 years old. 10) Davydov Victor Vladimirovich. 5 years old. 11) Davydov Nikolai Vladimirovich. 1 year old. 12) Pryadochkina Maria Petrovna. 60 years old.

19 September 1942. Town head Muzalev."

Can this be forgotten? Is it possible to live knowing that people are walking the earth who shot Davydov Nikolai Vladimirovich to death, one year old, an infant, the baby Kolya, shot him and ordered his name entered into a list? It is hard to talk about it, but impossible to forget. We still have a long way to go. But we will get there. We will find them. We will find them under their beds, in their vegetarian cafeterias, at the ends of the Earth. We will remember the one-year-old Kolya Davydov. We will remember much. **********

The director, Klimov, concentrates on faces. From the faces you can see what they saw. Come. Come and see what this war was about in the Soviet Union. This was a war to the death; the Soviets knew and the Germans knew it. The Germans knew it because their leaders declared it so and 23 million Soviets paid with their lives. Ten million Germans also paid the price of that sale. The seller pays the price of the sale.

Elem Klimov and Aleksei Rodionov's handheld cinematography, present the viewer with the mental and physical destruction of a boy who changes in front of your eyes beyond recognition.

Cacophoneous, industrial sounds and sometimes cryptic story-elements (for as far as there is a story) contribute to this ruthlessly escalating history lesson about Nazi's who burned down hundreds of villages in 1943 in Russia. The realism makes you wonder how many people were harmed making the film, while the score represents the mindnumbing experiences of Florya, a tour-de-force performance by Aleksei Kravchenko (16 at the time). All along, somehow Klimov knows very well how to prevent the audience from becoming numb.

ILM's specialFX are smoother, but the FX here in 'Come and see' are so realistic, it's almost unreal: reminiscent of the first 30 min of Saving private Ryan, Thin red line (watch the animals), Apocalypse Now and the painstaking 'Band of brothers'. Indeed forget about the rest of 'SPR', Platoon and even Full Metal Jacket. However, I would like to recommend Deer Hunter (Cimino, 1978) and Hotaru no haka (1988). But I never suspected there was something massive like this. 10/10

Come and See is one of the rare films that I can remember being emotionally drained upon its conclusion. The expression on my face as I sat there watching the credits scroll by seemed as worn and broken as that of the protagonist, Florya.

The film follows Florya as he "joins" (i.e. obtains a gun) a partisan group resisting the German advancements in the forests of his native Byelorussia during World War II. What he witnesses at the ripe age of 12 changes a once open-eyed, smiling face into a weathered, traumatized one that has experienced the unimaginable.

And of course the unimaginable were the Nazi atrocities committed during the war. Come and See does not focus on what the German Army did to the Jewish population but rather what they did to the native Soviet population. The Nazis were not only concerned with the utter destruction of the Jews but of the Bolshevik Party as well. And to Hitler that meant any man, woman, or child living under communist rule. And this "cleansing" fell into the hands of the SS who, as depicted in the movie, literally destroyed every sign of life.

Florya is able to escape death, unlike the rest of his family, but serves as a witness to the destruction and in this sense "dies" as his innocence and youth is lost. Klimov does a masterful job and depicting this slow death by concentrating on the facial expressions of Florya versus that of the Germans and both of their transformations over time. Klimov's Hitler montage at the end is especially moving and puts an interesting spin on the whole "what if" question.

This is the most historically accurate war movie I have ever seen and would highly recommend it to any war/history enthusiast. But I would also recommend it to any film watcher that realizes the goal of the medium which is to evoke emotion in the audience, and Come and See does just that.