"Көруге Кел" фильмі және соғыс трагедиясы

1985 anti war film by Elem Klimov
the 2019 Thai film

Come and See (Иди и смотри; ) is a 1985 Soviet Belarusian anti war film directed by Elem Klimov and starring Aleksei Kravchenko and Olga Mironova. and the 1977 collection of survivor testimonies I Am from the Fiery Village (Я из огненной деревни), of which Adamovich was a co author. Klimov had to fight eight years of censorship from the Soviet authorities before he could be allowed to produce the film in its entirety.

In 1943, Flyora and another Belarusian boy dig up an abandoned SVT 40 rifle from a sand filled trench to join the Soviet partisan forces. They do so in defiance of their village elder, who warns them that this would arouse the suspicions of the occupying Germans. The boys' activities are noticed by an Fw 189 reconnaissance aircraft, flying overhead. The next day, partisans arrive at Flyora's house to conscript him, against his mother's wishes. Flyora becomes a low rank militiaman who performs menial tasks. When the partisans move on, their commander Kosach orders Flyora to remain behind at the camp. Bitterly disappointed, Flyora walks into the forest weeping and meets Glasha, a young adolescent girl working as a nurse for the partisans, and the two bond before the camp is attacked by German paratroopers and dive bombers. Flyora is partially deafened from the explosions before the two hide in the forest. Flyora and Glasha travel to his village, only to find his home deserted and covered in flies. Denying that his family is dead, Flyora believes they are hiding on a nearby island across a bog. Following an arrogantly running Flyora from his village, Glasha by chance turns her head and sees a pile of executed villagers' bodies at a house wall, but refrains from alerting Flyora. The two become hysterical after wading through the bog, where Glasha screams at Flyora that his family is actually dead in the village, resulting in him pushing her into the water, then immediately trying to rescue her. Rubezh, a partisan fighter, comes across them and takes them to meet the surviving villagers, including the badly burnt village elder, who tells Flyora of his family's deaths and that he should not have dug up the rifles. Flyora attempts suicide out of guilt by submerging his head in the bog, but Glasha and the villagers save and comfort him. Rubezh takes Flyora and two other men to find food at a nearby warehouse, only to find it being guarded by German troops. During their retreat, the two companions are killed by a land mine. Rubezh and Flyora steal a cow from a collaborating farmer, but a German machine gun fires upon them, killing Rubezh and the cow. Flyora later attempts to steal a horse and cart, but the owner catches him and instead of doing him harm, he helps hide Flyora's identity when SS troops approach. Flyora is taken to the village of Perekhody, where they hurriedly discuss a fake identity for him, while an SS Einsatzkommando, accompanied by collaborators from the Russian Liberation Army and Schutzmannschaft Battalion 118, surround and occupy the village. Flyora tries to warn the townsfolk as they are being herded to their deaths, but is forced to join them inside a barn church. Flyora and a young woman are allowed to escape the church, but the latter is dragged by her hair into a truck to be gang raped. The German forces shoot, burn and throw explosives into the church. A German officer points a gun to Flyora's head to pose for a picture, then abandons him as the soldiers leave. Flyora later wanders away from the scorched village, discovering that the partisans ambushed the Germans. Flyora recovers his jacket and rifle and is approached by the woman who had escaped the church with him, bleeding and in a fugue state after being gang raped; her sudden resemblance to Glasha (who had been left earlier in the film to take care of the remaining survivors in Flyora's village) prompts Flyora to mumble comments Glasha had made to him. Flyora returns to the village, where the partisans have captured eleven of the Germans and their collaborators, including the commander, an SS Sturmbannführer. The commander and main collaborator plead for their lives and deflect blame, but a young fanatical officer, an Obersturmführer, is unapologetic and vows they will carry out their genocidal mission. Kosach makes the collaborator douse the Germans with petrol, but the disgusted crowd shoots them all before they can be set on fire. As the partisans leave, Flyora notices a framed portrait of Adolf Hitler in a puddle and proceeds to shoot it numerous times. As he does so, a montage of clips from Hitler's life plays in reverse, but when Hitler is shown as a baby on his mother Klara's lap, Flyora stops shooting and cries. A title card informs "628 Belorussian villages were destroyed, along with all their inhabitants". Flyora rushes to rejoin his comrades, and they march through the birch woods as snow blankets the ground.

Klimov co wrote the screenplay with Ales Adamovich, who fought with the Belarusian partisans as a teenager. According to the director's recollections, work on the film began in 1977:

The 40th anniversary of the Great Victory was approaching. The management had to be given something topical. I had been reading and rereading the book I Am from the Fiery Village, which consisted of the first hand accounts of people who miraculously survived the horrors of the fascist genocide in Belorussia. Many of them were still alive then, and Belorussians managed to record some of their memories onto film. I will never forget the face and eyes of one peasant, and his quiet recollection about how his whole village had been herded into a church, and how just before they were about to be burned, an officer gave them the offer: "Whoever has no children can leave". And he couldn't take it, he left, and left behind his wife and little kids  or about how another village was burned: the adults were all herded into a barn, but the children were left behind. And later, the drunk men surrounded them with sheepdogs and let the dogs tear the children to pieces. And then I thought: the world doesn't know about Khatyn! They know about Katyn, about the massacre of the Polish officers there. But they don't know about Belorussia. Even though more than 600 villages were burned there! And I decided to make a film about this tragedy. I perfectly understood that the film would end up a harsh one. I decided that the central role of the village lad Flyora would not be played by a professional actor, who upon immersion into a difficult role could have protected himself psychologically with his accumulated acting experience, technique and skill. I wanted to find a simple boy fourteen years of age. We had to prepare him for the most difficult experiences, then capture them on film. And at the same time, we had to protect him from the stresses so that he wasn't left in the loony bin after filming was over, but was returned to his mother alive and healthy. Fortunately, with Aleksei Kravchenko, who played Flyora and who later became a good actor, everything went smoothly. The events with the people, the peasants, actually happened as shown in the film. [It] doesn't have any professional actors. Even the language spoken in the film is Belarusian. What was important was that all the events depicted in the film really did happen in Belarus. I understood that this would be a very brutal film and that it was unlikely that people would be able to watch it. I told this to my screenplay co author, the writer Ales Adamovich. But he replied: "Let them not watch it, then. This is something we must leave after us. As evidence of war, and as a plea for peace." For eight years, Eventually in 1984, Klimov was able to start filming without having compromised to any censorship at all. The only change became the name of the film itself, to Come and See from the original, Kill Hitler

The film was shot in chronological order over a period of nine months. Contrary to what some rumors suggest, though, Kravchenko's hair did not turn permanently grey. In fact, a special Silber Interference Grease Paint, alongside a thin layer of actual silver, was used to dye his hair. This made it difficult to get it back to normal, so Kravchenko had to live with his hair like this for some time after shooting the film. To prepare the 14 year old Kravchenko for the role, Klimov called a hypnotist with autogenic training. To create the maximum sense of immediacy, realism, hyperrealism, and surrealism operating in equal measure, Klimov and his cameraman Aleksei Rodionov employed naturalistic colors, widescreen and lots of Steadicam shots; the film is full of extreme close ups of faces, does not flinch from the unpleasant details of burnt flesh and bloodied corpses, and the guns were often loaded with live ammunition as opposed to blanks. Kravchenko mentioned in interviews that bullets sometimes passed just 4 inches (10 centimeters) above his head At a few key points in the film classical music from mainly German or Austrian composers are used, such as The Blue Danube by Johann Strauss II. The Soviet marching song "The Sacred War" and Russian folk song "Korobeiniki" (Vadim Kozin) At the end, during the photographic montage, music by Richard Wagner is used, most notably the "Ride of the Valkyries" from Die Walküre.

The original Belarusian and Russian title of the film derives from Chapter 6 of the Book of Revelation, where in the first, third, fifth, and seventh verse is written "Ідзі і глядзі" in Belarusian (English: , Greek: , Erchou kai ide and "Иди и смотри" in Russian) as an invitation to look upon the destruction caused by the Four Horsemen of the Apocalypse. have been cited as being particularly relevant to the film:

And when he had opened the fourth seal, I heard the voice of the fourth beast say, "Come and see!" And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.

Come and See had its world premiere in the competition program at the 14th Moscow International Film Festival on 9 July 1985. It was theatrically released on 17 October 1985,