Dorogie tovarishchi

In the movie you can sense the whole crescendo of this Soviet secret crime fo 1962, by following a very eager communist woman , interpreted by director's wife Julija Visotskaya. At first we see her condemning all rebels and even saying that all should be killed. But...she also has a very young, adolescent daughter who is at the square when the shooting occurs... I was not expecting SUCH a good cinema, though. Love the movie, compliments to the team! The added value of the movie is the surreal REAL atmosphere of soviet union. Perfect music choice, almost moving!!! A must see!

The photography in "Dear Comrades" reminds very closely Konchalovsky's 2016 film, Ray (Paradise): 4:3 aspect ratio, black and white, digital camera usage. Yet, the two films are strongly different, although they somehow feel intrinsically connected.

"Dear Comrades" describes a workers strike occured in 1962 in Novocherkassk that was controversially smothered in blood, as seen from the point of view of a local party member (Yuliya Vyotskaya, who also the leading role in "Paradise").

It was impossible for me not to compare this film with Eisenstein's 1925 masterpiece "The Strike", which also features a revolution of the workers but against a zarist government. It is interesting to see how the tables have turned, and that same soviet government that threw over the zarist government acts exactly the same way. The film had also a bit of an "Ida" vibe, again minus the spiritual elements, and the ending sequence felt much like a classic hollywood drama's finale, intentionally so, which I found somewhat fitting to the slightly satyrical nature of the title.

Let me be clear: this film is far from a satyre, it depicts with an almost Bressonian simplicity the dynamics of power and secrecy that were central to the functioning of the Soviet Union.

Unlike the 2016 film, Dear Comrades has no spiritual dimension, it is strongly linked to the presentation of facts, as it should be, given the strong materialist/soviet tone of its story. Similarly to Paradise, though, it shows the brainwashing effects of the Stalinist era: the lead character has, until the end, a nostalgic attitude towards Stalin, whom she defends even when confronted with the gruesome crimes committed in his name.

I hope that Dear Comrades gets distributed widely. Konchalovsky has been directing very outstanding films the whole decade, and this is yet another one of them.

The story happens in 1962, on a small Russian town during the cold war. The people of city seems to be getting angry and impatient with the central government due to wage cuts and general raise in prices. These changes cause tensions to build up rapidly between factory workers and the communist party members until explodes in a gruesome way.

The movie follows a member of the communist party called Lyudmila Danilovna (played by Yuliya Vysotskaya) that works for and represents the central government in the city. 'Lyuda' (for short) is an ideologue that believes on the party propaganda even thought she might express mild dissatisfaction privately from time to time. Her father, an ex party member, is a melancholic retired man that seems not to believe in the party lines anymore. Her daughter is a "full-of-life" Leninist factory worker, that believes that Stalin is an assassin dictator. The tension that sprouts from those different generations, personalities and occupations inside a highly unstable political regime leads the main character to restore and reinforce her personal relations(family, neighbors and friends) instead of the party propaganda.

Gripping portrayal of the bloody downthrow of the 1962 workers' uprise in Novocherkassk, told through the eyes of a convinced Soviet member of local government whose daughter goes missing after the incident that the KGB makes a government secret and seals off the city. Beautifully shot in black and white, with unusual camera perspectives, picture compositions and orchestrated movement within the frame. Excellent performance by the main actress and very skillful directing. Moving dramaturgy, despite a seeming gap in the middle and a relatively open ending, which give room for interpretation and pondering. Very worthwhile cinema.

The sight of massed workers marching against the Soviet government demanding MORE Communism may strike many as strange, yet it is just one of the many seeming contradictions here. Director and Co-Writer Andrey Konchalovskiy (RUNAWAY TRAIN, INNER CIRCLE) has fashioned his tale (with Elena Kiseleva) out of a tragic 1962 incident where factory workers were shot at by government officials leaving at least 26 dead.

Lyuda (Yuliya Vysotskaya; the Director's wife) is a committee member for the town of Novocherkassk. As an apparatchik, she eats and drinks better than those she serves. When we first see her she's in the midst of an affair with a married official. Her daughter is an agitator at the factory in question. And, her father hasn't lived down his anti-government views from his youth. Lyuda is clearly supposed to represent the many hypocrisies of the Soviet system. When the fateful day occurs, Lyuda is caught in the middle of the literal crossfire.

Konchalovsky builds his movie slowly. The details of the bureaucracy are laid out as are the intertwined loyalties which abound. The truth is both impossible to discern, but, seemingly frowned up. Andrey Naydenov shoots brilliantly in stark Black & White and framed in classic 1:37 aspect ratio. There is no musical score, only traditional Soviet music, often propaganda heard in the background. Even with this bleak style Konchalovsky manages to finagle a underlying streak of bitter humor. Chairman Nikita Khrushchev's policies were so unpopular that many Soviets were pining for a return of genocidal former leader Joseph Stalin. Just over two years after the massacre, Khrushchev would himself be forced out of office. No matter how much the events effect her personally, Lyuda is both a true believer and a blind loyalist - and, can't distinguish the two. Vysotskaya's performance superbly navigates her character's (and that of her country) paradoxes with skill and vigor. As does DEAR COMRADES! Itself.