Requiem pour un massacre

This is the greatest war movie ever. The best way to describe it, I reckon, is to pass on a newspaper article written by Ilya Ehrenburg during World War II when all the things which happen in "Come and See" were happening:

NIKOLAI VLADIMIROVICH -- ONE YEAR OLD Red Star, November 30 1943

How much the Germans have taken from us! They have taken from us not only loved ones, homes, and possessions. Life was complicated. There were dreams, joys, people, many books, many countries. But now everything in me is unchangeably focused on one thing: on the German. I see him -- blue-eyed and inhuman. He walks and kills, he sings and kills, he laughs and kills.

Among the papers of the town head of the village of Vyazovaya, recently liberated from the Germans, was found the following document:

"List of executed residents of the village of Vyazovaya, Uzninskaya region:

1) Muzalevskaya Natalia Ivanovna. 43 years old. 2) Muzalevskaya Natalia Nikolaevna. 18 years old. 3) Muzalevskaya Diana Nikolaevna. 16 years old. 4) Muzalevsky Lev Nikolaevich. 13 years old. 5) Muzalevskaya Valentina Nikolaevna. 9 years old. 6) Muzalevskaya Tamara Nikolaevna. 5 years old. 7) Muzalevskaya Rima Nikolaevna. 3 years old. 8) Davydov Vladimir Ilych. 35 years old. 9) Davydov Anatoli Vladimirovich. 8 years old. 10) Davydov Victor Vladimirovich. 5 years old. 11) Davydov Nikolai Vladimirovich. 1 year old. 12) Pryadochkina Maria Petrovna. 60 years old.

19 September 1942. Town head Muzalev."

Can this be forgotten? Is it possible to live knowing that people are walking the earth who shot Davydov Nikolai Vladimirovich to death, one year old, an infant, the baby Kolya, shot him and ordered his name entered into a list? It is hard to talk about it, but impossible to forget. We still have a long way to go. But we will get there. We will find them. We will find them under their beds, in their vegetarian cafeterias, at the ends of the Earth. We will remember the one-year-old Kolya Davydov. We will remember much. **********

The director, Klimov, concentrates on faces. From the faces you can see what they saw. Come. Come and see what this war was about in the Soviet Union. This was a war to the death; the Soviets knew and the Germans knew it. The Germans knew it because their leaders declared it so and 23 million Soviets paid with their lives. Ten million Germans also paid the price of that sale. The seller pays the price of the sale.

One of the greatest of all war films, Klimov's stunning work stands amongst such works in which the horror and sorrow of conflict are made fresh over again for the viewer, left to stumble numb from the cinema thereafter. Produced for the 40th anniversary of Russia's triumph over the German invaders in WW2, based upon a novella by a writer who was a teenage partisan during the war, the propagandist use to which it was later put - when the GDR was still in the Eastern Bloc, citizens were forced to watch this to warn them of another rise of fascism - does not impair its effect today at all. It echoes intensity found in another masterpiece by the director. Klimov's shorter Larissa (1980) is a remorseful elegy to his late wife. Poetic and very personal, its sense of shock anticipates the heightened anguish that ultimately reverberates through Come And See. Through his images, the director stares uncomprehendingly at a world where lives are removed cruelly and without reason, if on this occasion not just one, but thousands.

At the heart of the narrative is Floyra, both viewer and victim of the appalling events making up the film's narrative, his history a horrendous coming-of-age story. It begins with him laboriously digging out a weapon to use and much changed at the end, he finally uses one. As he travels from initial innocence, through devastating experience, on to stunned hatred, in a remarkable process he ages before our eyes, both inside and out. His fresh face grows perceptibly more haggard as the film progresses, frequently staring straight back at the camera, as if challenging the viewer to keep watching; or while holding his numbed head, apparently close to mental collapse. Often shot directly at the boy or from his point of view, the formal quality of Klimov's film owes something to Tarkovsky's use of the camera in Ivan's Childhood, although the context is entirely different.

The film's title is from the Book of Revelations, referring to the summoning of witnesses to the devastation brought by the Four Horsemen of the Apocalypse. 'Come and See' is an invitation for its youthful protagonist to arm up and investigate the war, but also one for the audience to tread a similarly terrible path, witnessing with vivid immediacy the Belorussion holocaust at close hand. Here, the intensity of what is on offer justifies amplification by the use of a travelling camera, point-of-view shots, and some startlingly surreal effects pointing up unnatural events: the small animal clinging nervously to the German commander's arm for instance, soundtrack distortions, or the mock Hitler sculpted out of clay and skull.

Main character Floyra is the director's witness to events, a horrified visitor forced, like us to 'see' - even if full comprehension understandably follows more slowly. For instance during their return to the village, there is some doubt as to if Floyra is yet, or will be ever, able to fully acknowledge the nature of surrounding events. In one of the most disturbing scenes out of a film full of them, Glasha's reaction to off-screen smells and sights is profoundly blithe and unsettling. So much so, we wonder for a brief while if the youngsters really know what is going on. Its a watershed of innocence: one look back as the two leave and the reality of the situation would surely overwhelm Floyra - just as later, more explicit horrors do the viewer.

Come And See was not an easy shoot. It lasted over nine months and during the course of the action the young cast were called upon to perform some unpleasant tasks including, at one point, wading up to their necks through a freezing swamp. Kravchenko's face is unforgettable during this and other experiences, and there are claims that he was hypnotised in order to simulate the proper degree of shell shock during one of the major early sequences. The sonic distortion created on the soundtrack at this point later appeared to a lesser extent in Spielberg's Saving Private Ryan, as did elements of a much-commented scene where a cow is caught in murderous crossfire. Klimov's camera ranges through and around the atrocities, although one doubts that a steady cam was available. By the end Florya is isolated from humanity, technically as well as mentally, by a striking shot that excludes the middle foreground. Disturbingly expressionistic though these scenes are, others such as the scene where Florya and the partisan girl Rose visit the forest after the bombing, achieve an eerie lyricism that are however entirely missing from the Hollywood production. And whereas Spielberg's work concludes with a dramatic irony that's perhaps a little too neat, contrived for different audience tastes, Klimov's less accommodating epic finishes on a unique, cathartic moment - no doubt partly chosen to avoid any bathos after events just witnessed, but one which sends real blame back generations.

Hallucinatory, heartrending, traumatic and uncompromising, such a movie will not to be all tastes. It certainly does not make for relaxing viewing, although those who see it often say it remains with them for years after. This was Klimov's last film for, as he said afterwards "I lost interest in making films. Everything that was possible I felt had already been done," no doubt referring to the emotional intensity of his masterpiece, which would be hard to top. By the end of their own viewing, any audience ought to be shocked enough to pick up a rifle themselves and vengefully join the home army setting out to fight the Great Patriotic War - a necessarily stalwart response without limit of participation, symbolised by the director who tracks a camera through the dense forest before finally rejoining a column of soldiers heading to the front. If you feel, like I do, that any real war film should succeed in conveying the power and pity of it all, then Come And See is an absolute go and watch.

The best true-to-life war movie I have ever seen, and possibly the best movie I have ever seen. My eyes were opened when I saw this for the first time a few days ago. It made me realise what I miss 99% of the time when watching movies. So few affect me like this one did.

No special effects of note, no big budget, no set-pieces of note, no heroes, no redemption. I feel quite sure the director has really captured what war 'feels' like - unlike Spielberg and Coppola's depictions of war, this director lived through WW2 and the horrific siege of Stalingrad, as well as spending many months researching the massacres in Belarus, one of which he depicts in this film (this from the DVD extras, well worth watching).

The direction, cinematography, soundtrack and AMAZING acting by a first-time untrained actor in the main role are faultless, in my humble opinion.

I found this film depressing and emotionally draining, but cannot wait to watch it again.

I have a bad habit of reading too many reviews and comments about a film before I've seen it, mainly to get an idea about whether it's going to be worth a couple of hours of my time watching it. As a result, I am often slightly disappointed with much of what I see, as all the hype that I've read about a film kind of blows my expectations out of all proportion. I had a feeling this would be the case with Elem Klimov's 'Come and See', a film I'd read a lot about, particularly here on the IMDb. (Imagine my "excitement" when, having tried to see the film for nearly a year, I discovered it was to be released on DVD a week or two ago from today!) Well, I finally watched the film yesterday and... well, nothing could have prepared me for the sheer intensity and unflinching visceral horror of the atrocities that 'Come and See' invites us to... come and see. (Has anyone commented before on what a clever title that actually is...?) This is one of those films, like, say, 'Requiem For A Dream' or 'The Magdalene Sisters' (both of which, though great films, are simply not in the same league as Klimov's film), that one does not (obviously) so much enjoy as submit oneself to. By the end of such films we are left numbed and shell-shocked, wondering what we are supposed to do with the intense emotions that have been evoked within us. Yes, I felt like the ground had been pulled from beneath me; yes, what I saw in that film made my blood boil, my head hurt and my heart pound; and, yes, it showed me things I'd seen before but to a degree of intensity and detail that I had not experienced before. The point though, I guess, is that the role of cinema (and art in general) is not to offer answers or tell us what to think but to simply show us particular events and characters and allow us to come to our own decisions about what those things 'mean'. I'm rambling now, but I'll simply end by saying that 'Come and See' is, with its outstanding technical and artistic credentials aside, a film whose very title alone demands that it be seen. It is the work of a visionary, a cry of despair from the depths of hell, and an important reminder of humanity's capacity for inhumanity Go and see...

Come and See , well if you hate violence and brutality then you certainly wont want to see this. This Picture set in 1943 occupied Byelorussia is most probably the most true to life war movie ever, only Saving Private Ryan and Schindlers List can come close. What is amazing in this picture , is how the director uses a child's perspective and view in circumstances that you can only describe as evil. The director pulls no punches in how bad times actually were for peasents and partisans alike as German and collaborators show the viewer how low and depraved a fascist military machine actually is.

I dont want to go into the plot , as this film is a MUST for anyone who considers themselves a film buff. Disturbing and terrifying scenes do not in anyway spoil the flow of the film , but when viewing this film , please desist from seeing this movie in the early evening , as you wont sleep.

The acting accolades of course goes to the main characters , but I wish to give a special mention for the Russian Partisan Commander , who was just simply , superb. Everything about him was what you'd expect a Red Army Officer to be. The looks , the attitude and the steely determination is simply a credit to the actor. The best scene involving the Red Army Commander was when they had captured an Einsatgruppen Unit , and the SS soldier , who knew they were facing death was allowed to speak , after there own Commanding Officer was pleading pitifully for his own life. The SS soldier tells his captors that they are sub-human and that there peasent belief in Marxism was grounds enough that they should be eradicated. The Red Army Commander then in just a few words tells his men , that they are not just fighting for Socialism , but also the right to exist.What happens after...well you'll have to see.

Come and See is nothing short of disturbing, awesome, powerful and brutal. This is the best film I have ever seen regarding films portraying the Eastern Front 1941-1945 war. This film should be engraved in gold as the standard for any budding war film director. Only Saving Private Ryan and Schindlers List can be put in the same League table.