Le quarante et unième

wise use of close-up.wonderful images. pure poetry. a special vision about war and love. all of that makes it more than propaganda tool but an impressive expression of profound art. it is a film about values and beauty, choices and ideals. realistic, cruel, full of subtle symbols - the desert, the isle -, mark of a great director and science of nuances from two impressive actors. the story is only basic point for respect the ideological commands. but the skin of this nucleus has the rare virtue to make it more than piece of a period. the final dialog between lovers , the end, the boat in storm and near the isle, each is a precious ingredient for an universal message about duty and choices, far to basic triumphal message of regime.

Quite a filmmaker this Chukhrai was. Not much available from him, but I am happy to have seen two of his movies. "The Forty-first" perhaps wasn't as great as the wonderful "Ballad of a Soldier", but this is still quite an interesting film. Both of these films are war films, but contrary to what one might expect these films are told in a rather romantic, light-hearted, Hollywood style. Both films do have tragic elements which present themselves as the films progress, but they are largely rather light and enjoyable, even charming romance pictures of loved ones being torn apart and doomed by war. This story was started here with "The Forty-first" and would be perfected in "Ballad of a Soldier".

The script isn't particularly strong here, but where this film really stands out is in its visuals. An utterly stunning visual work from Chukhrai. I'm not sure I have seen a color film look like this one before! You have to see it to understand. Additionally, it's just constantly a visually dynamic film in Chukhrai's camera-movement and use of close-ups. The film is at the very least continually visually interesting and at its peak just stunning to look at. There's a really rich, dreamy atmosphere that develops by the end of the movie, and it makes for a quite unique viewing experience.

The ending is both quite outlandish but also tragic. Not too sure what to completely make of it. Then again, this was never a film which really strived for any kind of realism, so its over the top nature isn't too jarring with the rest. Actually, the more I think about it, the more I like it.

This is a very nice story, love and war story. This is a war movie without violence. In all the movie you see only three shoots. A great end for a great movie. It shows that war films can be done without blood everywhere.

like many films from the same period, the poetry of image saves it from the ideological web. because the basic aesthetic virtues are only parts of a splendid love story in the time of war. because the story is just support for seductive images. a film about borders and feelings. honest, fresh, melancholic, bitter. but useful for discover the spirit of a slice of history and the art of a great director. for discover the nuances who are only fruits of each detail. and to meet two interesting actors. a film about war, hate, love and strange form of peace. and, sure, about the duty. as piece who defines the characters. the last scene remains a long time in memory. not only for the drama but for the profound poetry who transforms the political command in seed of a story after the film's story. a film about the most precious emotion. made in one of the most inspired manners.

Watching this I was reminded of Hollywood Westerns of the mid-1950s, with the saturated color and framing of faces for psychological effect. The constant orchestral score was sometimes unnecessary and somewhat annoying; but as an interview with the director points out, the idea wasn't a grim war story, or even a political screed, but a love story, where sweeping music isn't out of place; and this is a love story.

The scenes with the nomads are striking and unforgettable; the desert sequences are also memorable, as is most of the film.

Much of the acting could be considered somewhat overwrought, with people flinging themselves down on the ground and making exaggerated gestures, so much so it almost seemed a modernized film with silent movie performances.

For those unfamiliar with the original novella, it may not matter, but the movie stays quite close to the story.

Honestly, this movie does seem dated, but is well worth the time for several scenes of honest beauty and some decent-enough acting performances. And, I have to admit, while I watched the majority of the film with more or less dispassionate interest, I was unprepared for the rifle shot at the end. It's much, MUCH more shocking than I expected, and if only for that reason, this movie sticks in my head.