Le Destin d'un homme

a Sholokhov adaptation. powerful and honest. a Bondarchuk gem. and map of a war. it is a great Soviet film. not only as artistic work or testimony about elements of a period. not as sign of post Stalin evolution of art. but for silence of images. for the message after decades to its viewer. because the fate of man is, in fact, the fate of East Europe in last period of XX century. sufferance, pain and death. and delicate hope as freedom space. love as only gun against cruelty of a time. camps as metaphor for Nazi and Soviet system. fear, struggle for survive, guilty because innocence is only fiction. and sense of life, again and again, as fruit of battle against yourself. a film about life. pure life. without exception or pink ingredients. cold, bitter, strange but beautiful. if you discover force to remain yourself in middle of each storm.

Sergey Bondarchuk is probably best known for his epic spectacle "War and Peace" (1966), and his outstanding feature debut "The Destiny of Man" (1959) was made in the same tradition of the war genre, though not in a similarly big fashion. Like many other Soviet war films made during the cultural thaw in Eastern Europe caused by the spirit of Geneva such as "The Cranes Are Flying" (1957) and "Ballad of a Soldier" (1959), "The Destiny of Man" focuses on the human experience in the bleak misery of war. It tells the story of an ordinary man who lost everything during a war that meant nothing to him.

The historical legacy and the poignantly present memory of the Second World War played an integral role in almost all of the Soviet films made during the cultural thaw. It is as though life itself was approached from this perspective. An entire generation was left alone with their problems to sink into oblivion in the era of Stalin's cult of personality. Not until the new political waves of the 1950's arrived were these people dealt properly in cinema.

"The Destiny of Man" cuts right to the memory of WWII as it begins from the first spring after the war. A man recalls his experiences during the war and ponders why life has mistreated him so in a long flashback. Bondarchuk's mobile camera fluently shifts to the past -- the memory -- revealing its reality before our eyes. His style is very modern, as is the case with other films from this period, born from dynamic movement, montage and intensity of close-ups. Accompanied by an astonishing soundtrack with nearly surreal tones and a great score by Venyamin Basner, this poetic voyage to the days gone by touches our very core.

The film was made in the same year with Masaki Kobayashi's masterful trilogy "The Human Condition" (1959-1962) which also highlights the experience and moral disappointment of an individual in times of immeasurable brutality. "The Destiny of Man" also includes a sequence taking place in a POW camp where the prisoners are forced to work, thus inevitably triggering an association with the first part of Kobayashi's trilogy. A perceptive spectator (or an obsessive fan of Kobayashi) might even observe a shot bearing a striking resemblance to the iconic image of workers walking up the hill.

What makes "The Destiny of Man" to stand the test of time and lifts it up to the same level with "The Cranes Are Flying" and "Ballad of a Soldier" is its profoundness. It is not a profoundness achieved simply by story, but by form. This can be seen in the film's aesthetics which is tremendously rich of tone and meaning. Bondarchuk truly achieves to depict the complexity of human experience and historical conditions. The cinematic repertoire of the image, the scenes and even entire sequences extends from the brief vibrations of the dramatic surface to the aesthetic profoundness of human existence.

A WWII Soviet soldier is captured by the Nazis but strives to escape and return home to his family.

Another of those great Russian war films from the late 50s/early 60s, which, as with Japan, seems to have been the nation's best era for cinema. The quicksilverlike photography is predictably superlative, and there are solid performances all round, especially from the lead, Sergey Bondarchuk, who also directed the film.

There's a number of clumsy transitions between scenes in the last half hour of the film that don't really work, and it perhaps runs a little out of steam once he has escaped, but that's about the most I can come up with in terms of criticism, and the final impression one takes away is less of battlefields than the healing, rebuilding and moving on from them that has to take place afterwards.

Well worth watching if you're in the mood for a 90-minute war epic, alongside The Cranes are Flying and Ballad of A Soldier.

At first I thought this film would be the usual war film in total line with the politburo's view on The Great War. But after 15 minutes in the film, something changes. First we have a scene in which Sokolof (the main character played by director Bondarcuk)) comes home drunk - something I have never seen in an older Soviet movie, than the war breaks out and after a slightly over the top scene in which Sokolof says goodbye to his family all hell breaks loose. The scene where Sokolof drives his car filled with ammunition across the frontline is incredible, and this is only the beginning of the war. Although the story sometimes is quit melodramatic, the photography of the film is exceptional modern for a film made in 1959. In beautiful black and white the viewer witnesses the whole damn thing called war. The film is not as heartbreaking and in-your-face as Come And See by Klimov, but Klimov must have seen this film and used it as an inspiration. Russia lost 20 million people during the second world war (some because of Stalin) but what it meant for and how it changed the life of ordinary people is all to clear in this story. This man's fate as he calls it. Although the film, I suppose, is rare, see it if you ever have a chance.

"Sokolov" (Sergey Bondarchuk) hopes that his warrior days are behind him after the civil war as he settles down with sweetheart "Irina" (Zinaida Kirienko) and starts a family. Sadly for him, the Nazis don't share his desires for a peaceable life and so he is duly conscripted into the Soviet army. Like so many of his counterparts, he waves goodbye to his family promising to return but having no real idea when or if he shall. Things definitely don't get off to a good start when he is captured by the invaders and imprisoned amidst a perilous environment of arbitrary killings regardless of whether you are a prisoner of war, a Russian citizen or a Jew. With the impetus of the war shifting, though, he manages to escape and we follow his attempts to make it back home to his family. Now this is told in retrospective so we do know what the outcome of his searching is going to be and as we near the denouement we find a character that's utterly devoid of hope - until the young lad "Vanya" (a joyous effort from Pavel Boriskin) makes an unpredictably profound impact on the older man now largely bereft of purpose. The wartime photography delivers strongly here illustrating the mayhem and chaos brought by the indiscriminate activities of their enemy and, latterly, their own forces whilst clearly demonstrating the horrors randomly inflicted on the population. Bondarchuk is also expert at portraying a character that is simple, decent and ultimately one who wants merely to be left to the joys of his family and his hard work. That's especially poignant when he is facing death at the hands of the prison camp commandant who sees the killing of his inmates as little different from sport. There's a tiny bit of religiosity in here too, which I thought added an extra human dimension to a story that could just as easily be applied to any of a million foot soldiers fighting in WWII without knowing what was going on at home. If the last scene doesn't bring a lump to your throat...