White Tiger

'White Tiger' is not your usual war movie concentrating on heroes or horrors of war. It is a rather allegorical tale about the essence of war. I have to say I guess that I went into the movie with the wrong mindset - horror fantasy about tank commander who must face the undestroyable and mysterious enemy tank. As a genre, war and horror don't mix very well, yet I decided to watch this peculiarity. The film was presented as an action-packed horror epic, and so I went into this. The movie starts with a scene that depicts the aftermath of the tank battle where they recover a tank commander who has lost his memory but not his remarkable skills. From there on the film takes sudden turn into the territories of surrealism and mysticism. That itself is never a bad thing, but. . . It quickly became obvious where the director was going with this thing, and although, I did reset my mind very quickly, the film didn't work for me wholly. It felt kind of bland and sterile. Some parts didn't quite add up or match. It wasn't polished enough for war epic neither it wasn't 'artsy' enough to work as allegory. The pacing wasn't off, and there were some brilliantly directed scenes, especially the final standoff. And the appearing of the White Tiger from the mist nearly gave me goosebumps.

Quite an interesting movie with a thought-provoking concept. At least I thought about this movie afterward. If You happen to read this review before watching 'White Tiger' then I recommend you keep the open mind and not expect some usual war hero action epic. That might help. On the other hand, if the movie is truly great, it should catch your attention anyway no matter how prepared you are or in what mood you are.

I might give this movie another shot, although I got a general idea, the execution wasn't anything special. Yet, I can't call this movie either a boring or total waste of time.

Starts out as a perfectly good war flick and turns more and more surreal during the last thirty minutes. Or maybe I should say, it becomes a meditation over the meaning, the spirit, the essence of war. As a whole, White Tiger is like an episode of Twilight Zone filmed in the gritty philosophical manner of Tarkovsky - some faces and scenes almost appear like a nod to the protagonists of Stalker. It probably won't please those who watch this for the war part, and because marketed as a war movie, it probably fails to reach out those looking for the surreal and mystical. However, even if this film is an odd bag, it has the potential to leave a lasting impression on the viewer because the point it makes in the end (in the fireplace monologue scene) is utterly taboo-breaking with thoughts no Western-made WW2 films dared to express. 8/10 for a few sluggish scenes towards the end.

I very rarely get so scared watching a movie that I have trouble watching it. The depiction of all the gritty details of tank culture was superb. Every moment, every mundane scene had a heavy tension to it -- you never knew what was going to happen next.

The best thriller movies make good use of silence rather than cheesy background music, and this had those silent scenes. The story was kind of like Moby Dick transposed into the WW2 eastern front -- replace the great white whale with White Tiger and Captain Ahab with the mysterious tank commander. Be warned, the movie has a lot of burn victims depicted very realistically.

Now to start off with, if you are planning on watching this film expecting another typical war movie, then you might be disappointed! This surreal Russian film is more about courage and mental torture of war, with battle scenes taking a back seat. For that reason I really liked it.

The story kept me captivated and the characters were interesting enough to invest my time in. When the tank battles do take place, I thought they were superbly done, with the mysterious "White Tiger" having a scary and almost indestructible sense about it.

Now one can dismiss this powerful German tank as just that, or you can look deeper and see what it stands for. The director has created a very multi-layered film that will make the deep thinker feel as though he or she has had a good work out.

Not for everyone, but in a world of movies that lack creativity and originality, White Tiger comes highly recommended!

Karen Shakhnazarov's WHITE TIGER resembles a series of Chinese boxes, setting up viewer expectations and then consciously frustrating them. At one level it is a powerful depiction of the realities of tank warfare during the Second World War, with crews cooped up in confined spaces trying their best to outwit their enemies. Some of the sequences are quite breathtakingly shot - especially when the Russian tank commanded by Naydenov (Aleksey Vertkov) stalks the eponymous White Tiger, a German tank with the apparent ability to elude all enemies. At another level, however, WHITE TIGER consciously raises questions in our minds: at the beginning of the film Naydenov suffers 90% burns, yet makes a remarkable recovery. It is as if he has been resurrected. He doesn't actually have a name, but is given one by his fellow-soldiers. And then there is the ending ... after the Nazi troops have surrendered in 1945 to the Soviets, Naydenov is still shown stalking the White Tiger, which he believes will prove a threat for several years to come. This is followed by another sequence involving an actor with a distinct resemblance to Hitler. The film apparently celebrates the Soviet cause in battle, then undercuts itself by suggesting that all forms of armed conflict are inevitable. Through such strategies director Shakhnazarov shows how one person's 'defeat' might be another person's 'victory': such terms are culturally and structurally relative. What is perhaps more significant is to acknowledge the ever-threatening presence of war through time and space.