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Come and See (The Criterion Collection)

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a b c "1985: 14th Moscow International Film Festival". MIFF. 28 June – 12 July 1985. Archived from the original on 14 May 2021 . Retrieved 17 July 2020. The director’s brother, German Klimov, also records a new interview, running 27-minutes. He covers some of the same ground that his brother did in the other interview (including how the title Come and Seecame about, though it differs a bit here) but expands on many details, like the events that led up to the film finally being made, and then production specific things like filming the barn sequence, where they ended up using locals who were probably around when the actual events happened. He then closes off discussing his brother’s heading of the Soviet Filmmakers Union.

a b c d e Youngblood, Denise Jeanne (2007). Russian War Films. On the Cinema Front, 1914-2005. Lawrence, Kansas: University Press of Kansas. p. 197. ISBN 978-0-700-61489-9. Hoberman, J. (30 January 2001). "High Lonesome". The Village Voice. New York City . Retrieved 25 February 2014. Le Fanu, Mark (Spring 1987). "Partisan | Come and See Review". Sight & Sound . Retrieved 18 February 2020. WANDA - Janus Films". Janus Films. Archived from the original on 13 March 2020 . Retrieved 18 March 2020. de Semlyen, Phil (11 October 2010). "Become A War Films Expert In Ten Easy Movies". Empire. Archived from the original on 19 October 2012 . Retrieved 18 February 2020.

Flaming Memory,a three-film documentary series from 1975–77 by filmmaker Viktor Dashuk featuring firsthand accounts of survivors of the genocide in Belorussia during World War II Whitegirl Julia Stiles in Save the Last Dance". New York Press. 16 February 2015 . Retrieved 6 November 2021. a b c d Марина Мурзина [Marina Murzina] (20 October 2010). Иди и смотри: съёмки превратились для Элема Климова в борьбу с цензурой[ Come and See: filming turned for Elem Klimov into fight against censorship]. Аргументы и факты [Arguments and Facts] (in Russian). No.42 . Retrieved 30 August 2016. Give any 20th-century war about fifteen years and its immediacy begins to fade. Movies set during the conflict cease being issue-driven vows of resistance and vengeance, as the urge to create feel-good entertainment begins. We Americans are strange in this way: showing strength by not taking things seriously results in TV shows like Hogan’s Heroes. We applaud the outrageousness of Mel Brooks’ movie jokes about Nazis, and an argument can be made that that approach is healthy. America paid a high price in human life in WW2, but the homefront didn’t suffer directly in WW2 — our cities weren’t bombed, we weren’t driven from our homes by armed invaders. In 1975 when Elem Klimov and author began planning a movie to be called “Kill Hitler,” he states that even Russian movies were beginning to lighten up about the war, He thought that Russian movies hadn’t faced up to the reality of the genocide. The older generation that experienced it wished to forget, and the younger generations hadn’t experienced it first-hand. It took Klimov six or seven years to get permission to film his war movie idea, permission that came only when the country needed a commemorative picture for 1985’s 40th anniversary Victory Day. It will come as a surprise to no one, at least those who pointed out how several shots from Come and See appeared as if they were lifted wholesale for 1917, to hear cinematographer Roger Deakins in a new interview included with this release discuss the influence of the film’s hyper-realistic look on his own work. In archival interviews from 2001, Elem Klimov, actor Alexei Kravchenko, and production designer Viktor Petrov discuss the grueling experience of making the film. A short Russian TV documentary from 1985 titled How Come and See Was Filmed confirms their impressions, while an interview with Klimov’s brother, German, focuses on the filmmaker’s broader career. Most notable is the inclusion of three of the five parts of Flaming Memory, a documentary series by Belarusian filmmaker Viktor Dashuk that covers the Nazi horrors inflicted upon Belarus during World War II. A booklet contains essays by film professor Mark le Fanu, who considers the film’s function as both a reflection and complication of Soviet war cinema, and poet Valzhyna Mort, who offers a more biographical overview of co-writer Ales Adamovich’s life and career. Overall

Criterion has put together a fantastic special edition for the film, loading on several supplements around the film’s production and its subject matter, while also giving the film a superb audio/video presentation. A very highly recommended edition. This respectful restoration of Come and Seeis beautiful; the picture is excellent, as is the sound. Here are the supplements included in this wonderful release: Come and See ( Russian: Иди и смотри, romanized: Idi i smotri; Belarusian: Ідзі і глядзі, romanized: Idzi i hliadzi) is a 1985 Soviet anti-war film directed by Elem Klimov and starring Aleksei Kravchenko and Olga Mironova. [4] Its screenplay, written by Klimov and Ales Adamovich, is based on the 1971 novel Khatyn [5] and the 1977 memoir I Am from the Fiery Village [6] ( Я из огненной деревни, Ya iz ognennoy derevni), [7] of which Adamovich was a co-author. [8] Klimov had to fight eight years of censorship from the Soviet authorities before he could be allowed to produce the film in its entirety. [9] [10]

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Carr, Jeremy (20 February 2020). "Casualties of War: Elem Klimov's Come and See". MUBI . Retrieved 10 January 2023. Come And See comes with a new 1080p HD transfer in its original 1.37:1 aspect ratio that looks the best it ever has with sharp detail and a great color palette. According to the Criterion booklet, Come And See was created in 2K resolution from the original 35mm camera negative and then restored.

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