richard6

Based on the Novel by Boris Vasilyev and written/directed by acclaimed Russian film-maker Stanislav Rostotsky; The Dawns are Quiet Here is a quintessential Soviet war film (nominated for Best Foreign Language Film at the Oscars in 1972). Produced in the 1970's, filmed in black and white, released amongst a fusilladed period of patriotic Soviet war films, The Dawns Are Quiet Here preserves kindred history with dignity and represents female soldiers of the Red Army with merit.

The Dawns is a small Anti-Aircraft company in the Quiet Karelia Soviet district during the Second World War. Browned-off with the Companies ill-disciplined, drunken, fraternising behaviour, the Soviet big-wheels replace this rag-tag company with an all-female company. Warrant Officer Vaskov struggles commanding these teenage-girls. The spirited all-female company; dance, dream, rebel, co-operate and tease like young girls do. Brazenly, in one scene take a fully-naked communal traditional Russian steam-sauna together (you did not get racy scenes like that in: The Longest Day!!) However, when these spirited girls are called into action they are no mitten floppers and seriously kick some Nazi ass with those ack-acks! In one scene mercilessly shooting a descending German fly-boy who has parachuted.

After one of the women discovers two German soldiers in the forest nearby, Vaskov leads five of his female group to go and capture them. Unfortunately this leads them to a larger than expected German Elite Paratrooper platoon. The six under-equipped Russians have to be quick-witted to survive and prevent them from making headway. Demonstratingly, Vaskov learns to respect them as soldiers.

The Dawns Here Are Quiet is a film of two halves. The first sets the scene and introduces us to the girls and their backstories. The backstories are surreal and very noticeably 1970's in cinematic tone(the only segments of the film that are filmed in colour). Bizarrely, it took me several dreamy flash-back scenes to realise they were individual characters back-stories. Disjoined as they were, If I had left the room and returned during one of these scene, I could be excused for thinking I was watching a different film altogether. The second act concerns their mission to hunt for the Hun. Rarely do we venture back to see the rest of the soldiers. There is a hammering shift in tone as the film remorselessly becomes a deadly pursuit in the marsh ridden Forest. The out-numbered girls, baptised under-fire display courage; the Sergeant displays consolation and many of the Elite German Paratroopers, as well as our young heroines are picked off one-by-one.

The Dawns Are Quiet Here is a sterling benevolent period soft-in-tone combat movie. Unsurprisingly, give the date of production it now feels that it belongs in a past era. I would recommend this authentic film to any dedicated Soviet film follower. Recommend it to anyone who is studying Russian history or The Eastern Front. And, recommend it to anyone possessing an interest of the Soviet Army during the Second World War. In addition, there is a fine frame-by-frame modern Russian television re-make of this film aired in 2014.

Unforgettably, The dawns Are Quiet Here pays merited honour, respect and admiration to the female fighters in the Red Army. In consolable, Many of these brave Russian GI Jane's were in their teens, early twenties or just beginning a family. Woefully, Countless numbers never returned home from the battle fields.

With special relevance against the current political backdrop of the Russian annexation of the Crimea, Haytarma is a compelling Ukrainian/Crimean produced short-film about the forcible deportation of the Crimean Tatars by Soviet authorities in 1944. Based on true events, the film stylishly portrays the story of a young ethnic Crimean Tatar test pilot (Sultan) and his efforts to protect his family from the unexpected brutal deportation.

The film starring-point is soon after Crimea liberation from three-years of destructive Nazi occupation. Sultan returns home to visit his relatives, coinciding with the Commissar of State Security decree to harshly punish by deportation, based on lavish collective collaboration charges, all Crimean Tatars to Central Asia. A race historically regarded as anti-Soviet by its Moscow crony masters.

A Ukrainian Crimean independent television channel produced and financed film. Given the pungent politically situation, the film aims a scattering of jingoism directed as a slap in the face to its Russian neighbours. Generally, Haytarma will be appreciated by eager historical nuts and cherished by nationalistic Ukrainians and ethnic Tatars. Yet, haply attention and interest will be recognised by mainstream international theatre audiences or DVD viewers. In short, Haytarma is a deeply moving patriotic film, visualising tales, revision told, lived and experienced by a population nations parents' and grandparents' to the present generation; yet a true-story not unappreciated by non-nationals of this geographical location. The film is historically genuine, historically accurate and admirably depicts the identity of the people and national characteristics. Even though, hefty questions still require riposte, and answers are still debated and disputed regarding the forcible deportation, carefully, though the film is neither over patriotic or aloft Russophobic.

Haytarma is a short film, ending unexpectedly with a loose conclusion. Yet, the story is griping and historical faultless. A crime against humanity? Or a state security requisite? Neither should distract against the quality of this short-film.

Night Will Fall is a potent documentary produced by the British Imperial War Museum covering the consequences of Nazi brutality towards Jews, Slavs and man, women or child considered inferior. As the Allied forces of Great Britain, United States and Canada advanced on the Western and Southern area of Germany, evidence of actual rumored, reported, alleged, speculated and widely believed accounts of state sponsored systematic murdered became distressingly real to the liberating soldiers.

The documentary (originally titled: German Concentration Camps factual Survey) contains recently restored actual footage of Nazi atrocities filmed in 1945 by Army camera crews on instructions by the British Psychological War Division. A plentiful amount of footage was gathered throughout the duration of the liberation of Bergen-Belsen, Buchenwald, Dachau and Auschwitz Concentration Camps. Originally, the footage was intended for a 1945 release to highlight the horrors hidden from public view, ignored by others, advocated by some the shocking truth discovered, which later became termed; The Holocaust.

Likewise the film makers intended not only to reveal the truth; yet, to edit, clarify and comment on what the world can learn from the reality of in-humanity still unimpaired and unforgettable to many. This restored footage is then inter-cut between interviews and melancholy testaments from British, American and Soviet soldiers, or camp survivor who witnessed the act of atrocities or its aftermath. Evoking as these testaments and interviews are, the uneasy commentary by The BBC War Correspondent Richard Dimbley who witnessed the Liberation of Bergen-Belsen is made even-more dismaying by the revelation that British Intelligence, skeptical of his statement, refrained the BBC from transmitting his broadcast to the public for a week after the April 1945 liberation in order to factually confirm the unbelievable horrors uncovered. Dismaying are also the incitable testaments from a Soviet perceptive of what was similarly, yet more eerie witnessed during the Red Armies liberation of the camps in Poland. Decorously, the documentary-makers have rightfully included a few captivating scenes of the Soviet liberation of Auschwitz. Granted, the images captured by Soviet film-crews are truly worthy of admiration. Unfortunately, because these scenes, combined with the commentary of Soviet War Correspondents, are so captivating, more should have been contained. Engaging, is also the explanation of film-makers and Producers Alfred Hitchcock and Sidney Bernstein and their involvement in the documentary.

Night Will Fall is a well presented, somber in commentary, extremely graphic in detail and at times may-be distressing to the viewer. Not only is the visual evidence of The Holocaust painfully revealing; yet, what is also represented is the advanced practices of reporting and commentary of War Correspondences combined with use of newly formed Army Camera Crews. Both methods intended for public exhibition; the original footage captured and the correspondence were innovating in 1945 for allowing the general public, authorised by the Government, with relatively minimal censoring, to bear witness in full overwhelming scenes of war crimes. Therefore, Night Will fall is clear in its focus, effective in its message and one of the best produced documentaries on The Holocaust.