É Difícil Ser Um Deus

I almost never post a review of a film here on IMDb unless I've watched the entire thing. Upfront disclaimer about this review of "Hard to Be a God": I did not finish the movie. In fact, I only watched about a third of this movie. So feel free to stop reading now and move one, or to read my review and discount it. I forgive you.

Now, why am I posting a review about a three-hour film of which I only watched about an hour? 1.) Because an hour is all I'm ever going to be able to watch of this film, so it's either post about it now or never; 2.) I have a feeling based on what I saw and what I've read about the film that watching the other two hours wouldn't much change my opinion, as what you see is pretty much what you get for the entire running time; and 3.) what I did see was compelling enough to make me want to share my opinion about it.

"Hard to Be a God" is difficult to describe so I won't even try. It is astounding in its visual detail and its authenticity in recreating the period look of the Middle Ages in all its scatological unpleasantness. Framed against this backdrop is a cacophony of human activity, swarms of people wandering on and off screen, sometimes interacting with the camera, muttering, shouting, barfing, pooping, peeing, spitting, farting, you name it. It's disgusting, intentionally so, and while I won't go so far as to say it's all pointless, it certainly feels that way. Or rather, the discomfort in watching humanity at its grossest isn't worth sticking with the thing long enough to find out what its point might be.

But that said, it did make an indelible impression on me and kept me thinking about it. I'll leave it to people smarter or more patient (or both) than me to watch the whole thing and decide whether or not it deserves the idolatrous praise critics have heaped upon it. But having watched only the bit of it I did, I can say it's certainly SOMETHING.

Rumata (Leonid Yarmolnik) is a scientist from Earth based on the planet Arkanar which has refused to develop beyond an equivalent middle age state. Here, people live squalid lives covered in blood, snot, excrement and any hint of intelligence from anyone results in immediate execution. Runata has been in Arkanar for years and is viewed as a form of God. He in turn wants to move things forward, but is forbidden by his Earth bosses from doing this.

This is an extraordinary folly of a film, notable for little in the way of a plot other than revolution begats revolution and should be viewed, if you have the patience and courage to check this out, as a sensory and mostly visual experience which is where the interest lies. The sets, sounds and particularly the visuals are quite extraordinary with tunnels of mud, death and excrement seemingly stretching on forever and full of decaying people barely existing in their squalor. A very hard watch then, but unique to be sure.

I've never written a review here, even though I'm more than dozen years a user. And most likely will not write one ever again. But forgive me for boring you with the personal introduction, it's just coming out to show you how much for me is this piece of filmmaking worth writing at least a few words. And I can only hope it will be for someone else too.

The plot is quite clear: a man out of time. In every possible sense. A team of experts, including explorer/militant/scientist/philosopher/royalty? called Don Rumata, is set on a distant planet whose civilization's grey Purgatory of reality is similar to Earth's grim and barbaric Middle Ages. His mission: to protect the very few progressive minds he can get. Thing is, he can't show his advantages and in no case can he interfere killing, therefore allowing all natural history course of this parallel society. Like a spectator who can only touch on the surface and hurt inside, bright and impotent. It's not easy being neo-God.

This simple yet great story is what makes the book written in the '60s by Boris and Arkady Strugatsky ("Roadside Picnic" which became "Stalker") a great one too. But what takes all this to a new-wave level of greatness is Aleksei German's lifelong desire to film it and his magnum final result of a vision where you are almost the main protagonist, you breathe and think and feel and will probably bleed right beside him. A result which German died just before seeing officially finished and which is now in the form of three hours that took fifteen years in the making.

Three Russian hours from 21st century of black-and-white world of past, future, fiction, reality, chaos, mud, blood, vom*t, p*ss and sh*t and yet there is love and even music to be found in the filth of German's Inferno. Where I saw it at the Sofia International Film Festival, I witnessed walkouts, boos, applauses, tears of despair or joy. But what I experienced thoroughly was me sitting on the floor in the overcrowded theater in complete petrification, silent, a little confused and in awe. Confused by how much German added to the story, the ambiguity, the layers of detail and questions in depth he raised. And in awe of how was this shot, structurally and technically speaking. Even for a film student like me it raised only questions. To not spoil anything, I feel I should only say you have to watch it completely open-minded and forget about the book (which still must be read beforehand) or visual feasts such as, for example, "Birdman" and all the overpraising it got. Don't get me wrong about Chivo Lubezki who I adore, but this is a cinematic achievement way ahead even of its prolific time. Because by the end of all the daze and decay, you are completely unaware whether it's Don Rumata, you or the world around that is transformed. But into what? It's up to you to find. Just drain yo' self:)

It was released more than a year ago at festivals, theatrically and on the internet, but is yet due to receive the grand recognition it deserves. My take is this can happen in five, fifteen, a hundred years from now or maybe never: something I can not and will not believe. No one can now for sure, but anyone could easily sense that as far as narrative cinema goes, HARD TO BE A GOD is most definitely the timeless film of our present. You can thank the Germans (father and son) or the Strugatsky brothers; I choose to thank humanity.

Aleski German's Hard to be a God may be the most difficult science fiction film ever made. It is a film that will divide viewers. I was excited to see the film since I had liked the Strugatsky brothers' novel that the film is based upon. In addition, the film had been compared to Andrei Tarkovsky who directed one of my favorite films, Stalker, also based on a novel by Arkaday and Boris Strugatsky (Roadside Picnic). After about a half hour of watching Hard to be a God, I was somewhat less excited.

On a strictly visual level, Hard to be a God is amazing. The film takes place on a planet, similar to Earth, that is going through its middle ages. Aleski German gives the viewer this world unfiltered. The set design is the film's strongest asset. Mud, eternally gray skies, strange armor with demonic horns, and faces, faces like a out of a fresco, these keep one watching. The only two films I can think of by way of comparison are Fellini Satyricon and Eisenstein's Ivan the Terrible. Hard to be a God lags behind those two films (Aleski German is not on the level as Federico Fellini or Sergei Eisenstein). Furthermore, German spends so much time on the set design that he neglects the story.

The Strugatsky brothers created a story about power plays and showed how a scientist became a killer. The background was the fictional middle ages. Aleski German places the middle ages in the foreground and shoves the story into the background. True, German keeps much of the Strugatsky's story but downplays them to such a degree that viewers unfamiliar with the novel will have a hard time following it. The royal assassinations which begin the violence happen off screen. The love affair between the protagonist and the peasant girl, which leads to the turning point of the book, is barely in the film. Only one thing interests the director: the world he has created. It is an amazing world. I certainly cannot dismiss a film that looks like this.

I am glad that I struggled through all three hours of Hard to be a God once. However, I think for repeat viewings one needs to have something more than just grand, moving pictures. One needs either deep themes (like in Tarkovsky's Stalker), or an intriguing character, or simply a good story. Set design will only take a film so far.

Beautifully shot in black and white, 'Hard to Be a God' presents a spectacular procession of grotesque medieval imagery. For nearly three hours, its characters battle, spit, fart, urinate and grimace, while bird droppings fall from the sky amidst a curtain of foul steam rising from the ground. This visual vocabulary is used insistently, relentlessly, like a mantra, to the point that it nearly becomes hypnotic. The result is, nevertheless, a tasteful, even elegant, and superbly crafted product.

'Hard to Be a God' is inspired by the novel of the same title, by Arkady and Boris Strugatsky (which I'm not familiar with). Technically speaking, this is a science fiction story, but expect nothing like '2001: Space Odyssey' or 'Star Trek'. If anything, its aesthetics have more in common with Andrei Tarkovsky's 1966 'Andrei Rublev', which is set in 15th century Russia. The plot goes something like this: In the future, a number of earthlings go to planet Arkanar to observe its culture, which is in a similar state to what was once the Earth's Middle Ages. However, they are not allowed to teach the locals any progressive concepts that might help them reach their own Renaissance. At best, they can protect a few, specific Arkanarians who may be instrumental in the advancement of their society. Some of this is explained in an introduction. The rest, one has to more or less guess, based on the sometimes disorienting action and sparse dialog. There is a lot to take in at once, so I believe a second viewing would be helpful.

The surreal parade of people fighting one another and marching through the mud like madmen is so overwhelming, that it is almost comical during some instances. This said, it is grim to see human beings reduced to pointless violence and physiological functions. The visitors from Earth are more scientifically advanced, to the point that they are perceived by the locals as gods; but they despair as they confront the seemingly endless chaos. Thus, the title. Most Arkanarians are primitive and superstitious, while the scientists are false gods, lacking hope or divine inspiration. Not exactly uplifting, but it's a sight to behold...

Director Aleksei German spent many years working on this elaborate production and died before completing it. His wife and son took over that task and finished it in 2013.