come and see
come and see selection come and see selection. pdf (9. 01 mb )
looking for movie tickets? enter your location to see which movie theaters are playing come and see near you .
with the headline: film:' come and see,' from soviet .
come and see me (duet remix) by erykah badu (ft. partynextdoor )
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the come and see music correlation contains 14 cds filled with music by john burland. all of the songs have been correlated and connected to related themes and topics from the hugely popular come and see programme as well as being connected to suggested scripture passages from the come and see scripture grid .
the children in our eyfs reception classes have been enjoying our' come and see' lessons .
when we gather together for assemblies and masses we enjoy singing the' come and see' theme song .
come and see me
will be served on party' s forthcoming project p3 via ovo sound .
come and see sounds like an invitation to a child' s game. nothing could be further from the truth .
a rare jewel from cinema history, a painful and unforgettable film, a classic by elem klimov; come and see (idi i smotri) is a picture that everybody must see .
this is a female version / cover to partynextdoor and drake' s song called come and see me. i hope you all enjoy .
come and see
sounds like an invitation to a child' s game. nothing could be further from the truth .
come and see, at the biograph, in russian with english subtitles, is unrated but may not be suitable for younger children .
all she every say is come and see me for once, you don' t ever come to me ,
pnd croons on the smooth noah
40
shebib - produced track .
partynextdoor hosts a private party for two in his new video for
come and see me ,
starring his rumored girlfriend kylie jenner .
following drake and ovo sound' s sxsw invasion at fader fort, partynextdoor delivers a new slow jam titled
come and see me
featuring drizzy .
we follow the catholic religious education programme,' come and see.' it is engaging and inspiring and our children have been producing some wonderful assemblies based on the themes .
on “come and see me, ” pnd and drake reflect on their attempts to maintain casual romantic relationships, effortlessly interchanging between their own perspectives and the women they’re trying to sleep with .
come and see, the last and most notable film made by the former soviet director elem klimov, is another fusion of popular and vanguard styles, albeit put to more civic - minded use .
in what might be the most millennial debut of all time, partynextdoor premiered his latest music video, titled, “come and see me, ” on snapchat’s discover channel .
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 .
acting on feedback from teachers the recent improvements to the come and see website have made it quicker and easier to navigate. many thanks for the prompt replies to emails / phonecalls and for the help in sorting out difficulties .
come & $ ee me by b. k. p. (ft. partynextdoor )
klimov said of the indelible event, in relation to
come and see ,
had i included everything i knew, and shown the whole truth, even i could not have watched it .
released in 1985 to critical acclaim, elem klimov’s “come and see” is not an underrated film – those who see it are quick to recognize its excellence. it is, however, a criminally underseen one, most likely because of where and when it was made (more on that later) .
' hamilton' star brandon victor dixon responds to trump: come see the show
we welcome donald trump here at hamilton, absolutely .
check out this story on urltoken urltoken
ten young actors come of age on the silver screen. read' when teen stars turn serious'
to everyone that has taken on the programme already, we hope you are enjoying what we have provided. to anyone that is still sitting on the fence... why not
come and see !
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come and see, elem klimov' s nightmarish portrayal of the nazi invasion of soviet byelorussia, has influenced many a war film since its release in 1985. but none have balanced physical and psychological horror with anything like the same skill
trailer for 1985 film
come and see
( idi i smotri). dir. e. klimov the music is slightly altered in order for it to be posted. the ligeti piece had to be removed .
why would you want him to see it ?
asked host norah o' donnell .
welcome to the religious education (re) section of our website. here you will find a selection of information and photographs of our activities relating to re, including displays, assemblies and celebrations. please find information on our re curriculum, and our come and see topics in the documents section below. as always, if you require any further information please do not hesitate to see your child' s class teacher .
after eight years of waiting for official approval, when come and see was finally released in 1985 it caused a sensation throughout the soviet union. with almost 29 million tickets sold, the film entered the canon of soviet war films not only for its exposure to a wide audience but for its unrelenting violence and emotion. come and see is a brutal bildungsroman that belongs on the high shelf with tarkovsky' s ivan’s childhood, eisenstein' s battleship potemkin, kalatozov' s the cranes are flying and chukhrai' s ballad of a soldier .
each week tom huddleston watches a classic film he' s never seen before. the rules are simple: each film must be considered a masterpiece and each must be completely new to him. this week: elem klimov' s' come and see' (1985 )
objectively ,
come and see
is elem klimov' s brave attempt to cinematically compartmentalize and contextualize his own wartime experiences as a child escaping the battle of stalingrad, in the company of his mother and younger brother, by raft across the volga while the city burned to the ground behind them .
come and see (russian: idi i smotri) is a 1985 russian war drama about world war two that won several awards. since it was made in the soviet union, it' s not as famous in america as it deserves to be .
youngblood, d. j. ,
post - stalinist cinema and the myth of world war ii: tarkovskii' s ivan' s childhood (1962) and klimov' s come and see (1985) ,
historical journal of film and television (abingdon), vol. 14, no. 4, 1994 .
after the considerable personal ordeal of bringing come and see to fruition, elem klimov proved unable to see another film through to completion. the unpredicted success of come and see around the world brought him renewed respect, american money and the prospect of further challenging projects. a number of these were at various stages of development in the years immediately after come and see. a version of the bulgakov novel the master and margharita seemed an ideal prospect, whilst another strong contender was a version of dostoyevsky ’s the devils. but ultimately nothing came of these plans, in large part due to the paralysing internal politics within the russian film industry, but also because essentially klimov sensed he had delivered in as uncompromising a fashion as possible those emotional states he had wished to give full expression to. klimov, by his own admission in an interview shortly before his death, confessed now he had ‘seen’, he had said all he wished to say .
the russian film director elem klimov, who has died aged 70 after six weeks in a coma, was only ever able to make five features, the last of which, come and see (1985), is among the most devastating of war films .
time out visits istanbul to see the latest bond movie being made. read' on the set of skyfall'
crypt tv - release... or we' ll come take a piece... .. fear ...
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i called this morning to enquire about the change in log in etc. i was dealt with professionally and in a friendly manner. it was a straightforward process and i logged in without a hitch. i was pleasantly surprised at the upgrade to the come and see resources. an invaluable resource for busy, busy teachers. thank you .
still unsure if kylie’s lip kit is worth the hype? you can see its long - lasting effects in action below .
a crowning achievement of 1980' s soviet cinema revived in 2001 to great acclaim, come and see is perhaps the ultimate wwll film. with haunting imagery, this stark testimonial to the madness and grief of war recounts the nightmarish journeys of an adolescent boy during the nazi occupation of byelorussia. russian with english subtitles .
in the 30 years since come and see' s release, although its influence has been great, none of the more recent films have been able to realise the original' s emotional acuity. rather, it seems that despite the soviet union' s collapse there is a tendency among recent directors for a more uniform and triumphal vision of the second world war that is resonant of the soviet era. there will no doubt be more films influenced by come and see i n the future, but if there is little embrace of its nuanced psychology they will never capture war' s true devastation on an individual' s mind and body .
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following donald trump' s tweetstorm condemning the show, dixon, who plays aaron burr, appeared on cbs this morning monday to respond. his message to the president - elect: come see the show .
we welcome donald trump here at hamilton, absolutely ,
he said .
i learn from urltoken that the film' s title, seemingly so straightforward, has a bleak context. it comes from the book of revelation: “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. ”
basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
come and see [ dvd ] [ 1985 ]: urltoken aleksey kravchenko, olga mironova, liubomiras laucevicius, vladas bagdonas, jüri lumiste, viktor lorents, kazimir rabetsky, evgeniy tilicheev, aleksandr berda, g. velts, v. vasilyev, igor gnevashev, aleksei rodionov, elem klimov, valeriya belova, ales adamovich: dvd & blu - ray
live ammunition was used in the film - in interviews, actor aleksey kravchenko has described actual bullets passing some 10 centimeters above his head. see more »
it' s said that you can' t make an effective anti - war film because war by its nature is exciting, and the end of the film belongs to the survivors. no one would ever make the mistake of saying that about elem klimov' s
come and see .
this 1985 film from russia is one of the most devastating films ever about anything, and in it, the survivors must envy the dead .
the belted machine gun used by one of the partisans to shoot the captured german soldiers does not eject any empty shell cases when it is fired. see more »
les collaborateurs: there' s one of these in the village of perekhody. the nazi - collaborator is treated with entirely appropriate contempt by his german masters, and we see the soldiers pantsing him and scrawling big swastikas on his helmet .
this movie' s title is derived from the bible' s new testament. it is from chapter 6 in the book of revelation (aka the apocalypse of john aka the revelation of st john the divine aka the revelation of st john). it reads :
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 .
lem klimov, the new head of the soviet filmmakers association, explores the horrors of war in his classic coming - of - age drama
come and see .
directing with an angry eloquence, he taps into that hallucinatory nether world of blood and mud and escalating madness that francis coppola found in
apocalypse now .
and though he draws a surprisingly vivid performance from his inexperienced teen lead, klimov' s prowess is his visual poetry, muscular and animistic, like compatriot andrei konchalovsky' s in his epic
siberiade .
because i think the power of our show and the way we tell it is undeniable ,
he replied .
i think it' s important for everyone to see a show like ours .
flew to la for the day for the first table read of season 8 !
ferguson posted on instagram .
so great to see my modern family !
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come and see has been described as
an epic of derangement
. during the harrowing 142 minutes of the film, we follow teenage florya (alexei kravchenko) as he is taken off by partisans fighting in the woods of belarus in 1943. they disappear, and he is left to wander, gun in hand, until he rejoins them at the end as a hardened, active participant. florya' s ordeal turns his hair grey and puts wrinkles on his young face .
magic realism: several sequences are implausible and downright surreal, and intentionally so .
not all movies are meant to be enjoyable, and some fall more obviously into the category of art than entertainment. though no one could possible describe the experience of watching “come and see” as a fun time, the film is nonetheless a masterpiece, worthy of consideration as not just the best war movie ever made, but also one of the greatest films ever made period. the following are just ten of the reasons why its legacy should be so honored :
bastards (2006) also draws on the experience of young soldiers, and like come and see it caused controversy. despite being awarded best film at the russian mtv awards in 2007, the presenter vladimir menshov refused to hand over the envelope, objecting to the film' s anti - soviet propaganda. in a plot that mirrors robert aldrich' s the dirty dozen (1967), boys aged 14 and 15 are released from prison and trained to destroy a german oil depot deep in the carpathian mountains. the film was so widely criticised that the russian federal security service issued a press release saying their archives had no evidence of criminal teenagers being used in second world war missions. while flyora' s trauma in come and see was largely due to the experience of nazi brutality, in bastards the motley band of boys face a further trial: an assault on their identity. subject to the same threat of mortality faced by regular soldiers, these criminals must fight to become a part of the red army' s heroic collective while remaining as outsiders. their charge is to fight for a country that has rejected them and undergo the existential threat of being comrades cast aside. the film' s collective coming - of - age centres on kot (aleksandr golovin) and tyapa (sergei rychenkov) as they brave frontline action with fists and rudimentary weapons. unlike in come and see, where flyora' s composure becomes increasingly debilitated, the breakdpwn suffered by the “bastards” is offset by their evolving physical prowess .
this year looks to be a major one for ovo as drake has his sights set on an april release for views from the 6, dvsn & apos; s debut album is scheduled for an april 1 release, and majid jordan already dropped their self - titled project. you can now add partynextdoor & apos; s name to the mix as the celebrated r & b artist has shared
come and see me
featuring ovo & apos; s head honcho .
born into a communist family on july 9, 1933, elem klimov' s parents constructed his first name as an acronym of engels, lenin, and marx. in his 70 years, elem klimov made only five films :
welcome, or no trespassing
( 1964) ,
the adventures of a dentist
( 1965) ,
agony
( 1975) and
farewell
( 1981) .
come and see
was his astounding final picture that would establish elem klimov as a storyteller of untold narrative depth and intuitive sensitivity .
the only genuinely moving moment is when the movie is over, and the authentic schindler survivors are shown visiting the real schindler' s grave. for documentary or literature are the only forms big enough and true enough to fit the holocaust. go and see claude lanzmann' s shoah, or read a book by primo levi, if you want to know about the death camps. and if you want to be entertained by a tragedy with a happy ending set in an inhumane prison environment, go to see the shawshank redemption instead .
if nothing else, “come and see” offers a sobering history lesson, illuminating one of the lesser known episodes of world war ii: the nazi occupation of belarus. while most films about the nazi treatment of civilians understandably focus on what they did to the jews – the minority that was indisputably singled out to receive the worst of the nazi’s policies, culminating in the genocidal slaughter that was the holocaust – there were many other religious, ethnic, and regional groups that were also selected for extermination .
come and see is continually cited as one of the greatest war films ever made, finding its place on lists alongside the likes of saving private ryan (1998) and cross of iron (1977). it is hailed for the visceral power of its images and its entirely plausible scenes of carnage. the setting is easily recognisable, world war ii and two opposing sides, the partisans and the german occupiers are locked in a grim conflict that offers little alternative but mutual extermination. but this war film categorization becomes onerous with over simplification when one fully appreciates the striking visionary elements and artistic achievements klimov attains. in terms of the viewer’s emotional upheaval after watching it, come and see has little to do with what people consider a conventional war film. it is a film about internecine human atrocity, the sudden and brutal loss of innocence, the impotence of the guileless, the appalling rupture of benign rural communities by technologically enabled destructive forces spewing from a poisonous ideology. it is about how men are capable of committing the most heinous acts at the frayed end of a psychopath’s ideological whip and how the stain of unhinged reasoning spreads into a destructively motivated crowd, but also how the determined victim collective produces an equally powerful will to resist the occupier and bring justice or at least survival to the subjected .
the most recent film to draw on come and see is the brest fortress (2014), where director alexander kott focuses on a single protagonist. 15 - year - old sasha (aleksey kopashov) narrates the defence of a key fortress against the wehrmacht during the opening stages of operation barbarossa in 1941. the film is a relentless portrayal of the german' s blitzkrieg assault, and yet it fails to pause long enough to allow for an insight into sasha' s shifting mindset. as in come and see there is a panorama of violence, where bombs reign, limbs are blown asunder and germans machine - gun helpless civilians. but it' s ironic that in never allowing this violence a reprieve, the damage done to sasha' s psyche is kept at a distance. rather than achieving a balance between sasha' s interior life and the eruption of wild butchery, the brest fortress skews far too heavily towards battle scenes alone. at the close of the film sasha is changed but not in the irreversible way experienced by flyora in klimov' s depiction of the war .
as seen through the eyes of teen - aged protagonist alexei kravchenko, the landscape of byelorussia is devastated by the incursion of nazi troops in 1943. the genocide perpetrated on the citizens of this region is almost secondary to the rape of the region itself. despite his disillusionment with humanity, florya (kravchenko) emerges from his experiences vowing to survive no matter what comes - - and in so doing, personifies a resilience and dignity. come and see, originally released as idi i smorti, was the winner of the grand prix at the 1985 moscow film festival .
what sets come and see apart from other war films is its portrayal of children succumbing to madness. after flyora learns that his family has been slaughtered he is overcome by an interior rupture and tries to bury his head in a patch of muddy earth. but the hope of erasing his trauma is impossible, and klimov underscores flyora' s psychological breakdown with the use of sound. oleg yanchenko' s score is merciless, filled with the discordant hum of machines that build into a dystopian symphony of broken waltzes and primal screams. along with the parading of cows and the crowing of unseen birds in the forest canopy, there is an unflagging accretion of noise .
the movie itself is great, the dvd is crap. the movie by itself is really a must see. no other war film really compares in showing the horrors of war without glorifying any of it .
the terrible central event of'' come and see,'' which takes up about a quarter of the 2 - hour, 22 - minute soviet movie now at the bleecker street cinema, is the burning of a byelorussian village by german invaders in 1943. a line on the screen tells us that hundreds of villages in the soviet republic east of poland were destroyed, their people annihilated. the history is harrowing and the presentation is graphic; you feel it through your body as villagers are packed into a barn to be incinerated .
find interviews with the cast and crew, event coverage, exclusive images and other superfan essentials .
i must not describe the famous sequence at the end. it must unfold as a surprise for you. it pretends to roll back history. you will see how. it is unutterably depressing, because history can never undo itself, and is with us forever .
the events portrayed in come and see have been drawn from at least three separate books by ales adanovich (who also worked on the screenplay), so that, as philip strick put it ,
what has been reconstructed is a symbolic tragedy, drawing together a multiplicity of terrible episodes into one condensed nightmare .
indeed, an end credit tells us that there were 628 perekhodys in byelorussia, but new evidence unearthed since the fall of the soviet union suggests there were far more. likewise a good deal of recent work emanating from germany itself—and, in particular, a major exhibition in hamburg in 1995—has cast a great deal of doubt on the conventional view that atrocities on the eastern front were carried out by the ss and various ill - assorted non - german nazis, whilst the professional wehrmacht got on with the job of being ordinary soldiers. so whilst it may indeed be the case, as some critics have complained, that come and see will do little to foster good east - west relations, its representation of german soldiery in byelorussia as glorying in the most vile and degraded behaviour imaginable, at least has the virtue of historical accuracy, and of puncturing the assiduously cultivated myth of the dutiful wehrmacht .
when the partisans come to florya' s village to recruit him, they are disguised as german soldiers, and the villagers greet them with food. likewise, when the einsatzgruppe arrives in perekhody later in the film, the inhabitants welcome them as liberators, believing that they will take them to germany .
a catholic primary religious education programme for foundation and key stages 1 and 2 published in july 2012 .
come and see' s legacy of portraying the psychological damage of war on children has influenced numerous other films since the soviet union' s demise. during the noughties particularly, directors and producers looked back to klimov' s film for how to reinvigorate portrayals of the great patriotic war. aleksey kravchenko, who played flyora, was cast again in the star (2002) as the determined sergeant anikanov. now 17 years older, the actor' s fresh - faced pallor in come and see has hardened, as germans advance along the polish border in 1944. rather than focus on a single protagonist, director nikolai lebedev follows a group of scouts — nicknamed “ghosts” — behind enemy lines. although the group moves through a maze of marshes and thick foliage as flyora did, the viewer is never allowed the intimacy of their individual experience. this dilutes the characters' trauma and elevates the red army' s heroism as a whole. it makes for a peculiar experience to encounter a film produced in the post - soviet era that offers little more than the generic tropes of old soviet triumphalism. while the star portrays the experience of children and young men on suicide missions, their psychological trauma is opaque, reduced to the kind of party - line martyrdom evident in chapayev (1934) and zoya (1944) – films that embraced the tidy storytelling of socialist realism .
this is a film that shows the second world war in rural microcosm and is shocking in its artless savagery. key is a sequence that shows the burning of civilians in a village church, the use of non - professionals as nazis and victims only adding to its grotesque matter - of - factness. that it ends with a nod to dziga vertov' s surreal soviet classic man with a movie camera, by running actual war footage back to the birth of hitler, shows klimov' s poetic intent; though its people and landscapes are russian, come and see is not bound or defined by those things, rather it is a profound, universal and deeply subjective film whose only purpose is to bear witness to war as a form of collective insanity. damon wise
fr. philip hall explores the readings and services of the church and relates them to everyday christian life .
it follows on from successful trialling in schools in england and wales and is based on the theological foundations of the second vatican council, the catholic catechism and the revised re curriculum directory and includes the catholic attainment levels .
come and see is set in byelorussia in 1943, and tells the story of german atrocities against the population through the eyes of a young boy, florya, who, at the start of the film, joins the partisans. whilst he is away his entire village, including his mother and little sisters, are butchered by the germans. returning with a partisan girl, glasha, he discovers the awful truth, an event which virtually unhinges him. roaming through the bleak byelorussian countryside with an everdwindling band of displaced people, he eventually witnesses the german destruction of the village of perekhody and the slaughter of its inhabitants—an event from which he narrowly escapes with his own life. the german unit responsible is caught and destroyed by the partisans, whom florya, now aged almost beyond recognition by his terrible experiences, rejoins .
a very unusual movie for a western audience: ww2 as seen from the soviet perspective. a young boy digs up a rifle from a soldier' s grave and runs off to join the partisans, huge groups of irregular soldiers backing up the red army. it has that' realist' quality that seems typical of soviet cinema. for example, during a bombing raid, a bomb explodes some distance from the boy, damaging his hearing. from that point on the sound in the movie is muffled. at first i thought there was a problem with the tv but soon realised it was an effect by the director. towards the end of the movie he (and we) starts to get his hearing back. i remember when i first saw this movie on tv in the 1980s and was quite taken by this - and i didn' t see the idea copied in a western war movie until perhaps the realism of' saving private ryan' towards the end.' come and see' is rather long - two hours, and at points it can be hard to follow what' s going on, soldiers all over the place, running everywhere, are they coming or going? but i suppose the director wanted us to see war as being like that - moments of total confusion where we have no idea what' s happening, except that it' s all bad, and we just want to keep our heads down and stay alive! in that respect it reminded me a bit of the (much later) terernce malick' s
thin red line
when the marines overrun the japanese camp and everyone' s just running and yelling and hitting and stabbing without apparent rhyme or reason .
critic and film historian cole smithey is available for speaking engagements, radio and television appearances, teaching opportunities, film festival juries, seminars, and other film related events .
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the classicism is in no small part down to coppola and cinematographer gordon willis' genius decision to shoot it with a minimum of modern film - making bells and whistles. we see the corleones' ’40s and ’50s new york at eye level, never via the rooftop - scudding bird' s - eye view of the helicopter - camera lens. and, in keeping with its underworld setting, it' s moodily, dimly lit throughout, its underexposure lending it an aged, sepia - tinged quality .
such a departure from his point of view doesn' t let us off easy. all he sees is horror, and all he doesn' t see is horror, too. later florya finds himself in a village as nazi occupiers arrive. there is a sustained sequence as they methodically round up all the villagers and lock them into a barn. the images evoke the holocaust. as he' s shoved in as part of the seething crowd, florya' s eyes never leave the windows high above the floor. by now his only instinct in life has become to escape death. parents and children, old people and infants, are all packed in. the nazis call for any able - bodied men to come out. the fathers stay with their families. florya scrambles out a window and watches as the nazis burn down the barn, its locked double doors heaving from the desperation inside. this is a horrifying scene, avoiding facile cutaways and simply standing back and regarding .
if psycho (see next entry) was hitchcock' s big shocker, then vertigo is the one that gets properly under your skin. with james stewart' s detective stalking kim novak' s mysterious woman, witnessing her suicide, then becoming obsessed with her double, it' s certainly disturbing and most definitely (as the title suggests) disorientating. in the most artful and inventive way .
come and see ,
an impassioned, pastoral indictment of the nazis, haunts us with its painterly after - images of world war ii as seen through a 14 - year - old farm boy' s eyes. alexei kravchenko, who has never acted before, plays florya, the innocent destroyed. he' s the soviet charlie sheen, if you will, a familiar figure in war lore, but he suffers with an agony torn from his russian core. he was, in fact, hypnotized during filming to aid him in his physical transformation from an apple - cheeked waif to a wizened, hollow - eyed witness of genocide .
5. was this the first movie where aliens played a major role, but we did not see any aliens? or wait: there were no actual aliens, and it was just humanity in the future, right? either way: cooper is definitely revealed to be space ghost, supplying his daughter (and his younger self) with information. how is that not a cap - p paradox ?
but as david mamet once observed, if you come out of a film only admiring its cinematography, then you have probably been sitting through a lousy film. that' s certainly true of death in venice, which is a lot of window - dressed camp nonsense smuggling itself into the canon disguised as art .
... the priest people will turn to, and the priest they need, he is one who has encountered the lord and who knows personally his love and his mercy .
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as the film progresses and florya witnesses atrocity after atrocity, he begins to rapidly age. by the end of the movie, his hair has turned grey and he looks disheveled and grotesque .
none of these
masterpieces
deserves a place in history more than large numbers of other films that are either forgotten, not noticed in the first place, or languish on the outer periphery of the canon. the blair witch project and the innocents, for example, are much scarier and more innovative than the highly lauded psycho. the dialogue - free philip glass / godfrey reggio project koyaanisqatsi is one of the most original movies of the last 30 years. south pacific and all that jazz both make singin' in the rain look like the empty spectacle it is. try, also, the rapture, a weirdly wonderful film about religious cults by michael tolkin (who wrote the player), max reinhardt' s a midsummer night' s dream, terence davies' s masterful trilogy and my personal greatest of all time, elem klimov' s come and see, a 1985 russian war epic that makes apocalypse now look lightweight .
a beautiful german woman listens to opera music and eats lobster in her car while the village burns around her (perhaps a visual mockery of supposed aryan “civility”). it’s the bizarre touches like these that help burn the scene into our memory, as if showing just general mayhem would be too basic. what klimov is after is something more impressionistic, punctuating the atrocities with images so weird and inexplicable that they almost come off as obscene, given their context .
though intimately concerned with atrocity, come and see also contains scenes of rare tenderness and beauty, whose enigmatic quality has been somewhat obscured by the more obvious primary carnage. the scene already cited of florya and glasha in their fir forest hideaway immediately cuts to the rapturous episode of these momentary babes in the wood deliriously shaking the trunks of sunlit trees to make rain fall, so they can refresh themselves. florya lashes his bare chest vigorously with foliage to enliven his flesh, recalling max von sydow ’s character in bergman ’s the virgin spring. glasha dances happily on a log for her new companion. in her clinging rain - soaked bottle green dress she blooms with the reckless vitality of youth and seems in that instant impervious to horror. here in the bucolic forest glade that has somehow repulsed the earlier intrusion of bombs, something is forged through light, sound and visual effects resulting in an emotively engaged visionary force which defies rationality. another moving moment easily overlooked comes earlier in the film when florya, obliged to strip and climb into the cooking pot at the camp to scrub it with fir fronds is approached by glasha who holds a posy of simple woodland flowers. the naked boy, trapped in his lowly position crouches embarrassed, helpless. she laughs and casts the flowers over him. klimov rests his lens a while on the child florya pathetically anointed with blooms like some sacrificial lamb seasoned for the inferno to come .
programmers certainly have to understand recursion. even if you never write a single recursive function, you won’t really understand what a function call is until you can see what happens when it calls itself. but that’s treated as an “advanced” skill, when really it’s not all that difficult, merely unfamiliar .
vergara also posted adorable photos with her tv hubby ed o' neill, and her sons, actors rico rodriguez and jeremy maguire .
with marvel’s ‘phase one’ - concluding team - up movie, writer - director joss whedon not only pulled off a colossal character - juggling act, he also pushed the studio’s commercial success to a much higher level. it’s still one of the best - scripted marvels, and we’ve yet to see a villain on more entertainingly nefarious form than tom hiddleston’s loki was here .
the ending is a dose of instant inspirationalism. the camera makes its way through the forest to the accompaniment of a choir that soars and soars until we get a glimpse of the heavens, not the most original moment in the movie. yet scene for scene, mr. klimov proves a master of a sort of unreal realism that seeks to get at events terrible beyond comprehension. he shows what he can do particularly after florya has been deafened by bombs and we seem to be inside the boy' s head, with the sounds of the outside world overwhelmed by his panting breaths; everything turns distant and ominous. ominous enough without mr. klimov' s intrusions, at the expense of his own unquestionable talent. unreal realism come and see, directed by elem klimov; screenplay (russian with english subtitles) by mr. klimov and ales adamovich, based on'' the story of khatyn'' and other war stories by mr. adamovich; director of photography, aleksei rodionov; music by oleg yanchenko; production companies, belarusfilm and mosfilm studios. at bleecker street cinema, 144 bleecker street. running time: 142 minutes. this film has no rating .
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ninety - five’s other super - twisted, über - cool crime thriller starring kevin spacey (next to seven — see entry 30). while the line - up team - up is a great concept, director bryan singer and writer christopher mcquarrie’s movie attains true greatness through its supernatural - horror - style backdrop, conjuring a phantom menace — keyser soze — who terrifies even the most hardened criminal .
there aren' t too many places in the world you could do it ,
said coppola .
they' d never let you in the us; the environmentalists would kill you .
leading actor martin sheen (who replaced harvey keitel two weeks into the shoot) suffered a heart attack, and a typhoon destroyed the sets. the budget soared from $ 12m to $ 30m and shooting dragged on from the scheduled six weeks to 16 months. with the director struggling to edit millions of feet of footage (literally) and come up with an ending, industry wags dubbed the unseen film apocalypse when? and predicted it would be a disaster .
a fantastic film but don' t watch it if you' re not in the best of moods! crikey, it' s heavy going. but that' s no criticism by any means. a fully realistic account of war and its atrocities is what we get and it' s a stark reminder of how brutal and unforgiving it is. there is a lot to be learnt from human behaviour towards each other when we are put under huge pressure to survive. fascinating stuff. i can see how this film is on must see lists of foreign films. the young actor that played flyore should have received an award. if you' re thinking of buying this then don' t expect a typical war film like private ryan. this is more of an account of an outsider witnessing the acts of war going on. an excellent but miserable film. get it .
stalingrad - born elem klimov' s
come and see
is an undiluted expression of cinematic poetry in the service of an unspeakably turbulent, fact - based, anti - war narrative about the 628 belarusian villages burnt to the ground along with their inhabitants by the nazis. the film is a disorienting vision of a genocide hell on earth that would pale hieronymus bosch' s most gruesome compositions. an electricity - buzzing stench of death and social decay hangs over the picture' s constant volley between neo - realistic, formal, and documentary styles that klimov uses to convert as wide a range of specific wartime experience as possible. the director takes the viewer on a quicksilver descent into an existential madness of war through the eyes of his 14 - year - old peasant protagonist florya. alexei kravchenko' s extraordinary performance as the film' s subjective guide encompasses a lifetime of suffering over a period of a few brutal days of the nazi invasion .
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14 then the sky [ a ] receded as a scroll when it is rolled up, and every mountain and island was moved out of its place .
2. there’s a reference to land wars having come and gone, but still: wouldn’t the starving hoards of desperate humanity kill the farmers and take what was left? are we really supposed to believe, in a society where the military has collapsed, they’d just slink away in their dusty cars to die? or are the very least, wouldn’t they raid the corn fields for all the food? clearly nolan has never worked in a restaurant — you put suburbanites on a 40 - minute wait for a booth and by the end of it they’re ready to claw your eyes out. even the nice hobbits stole from farmer maggot .
a helluva journey, told with with brutal bluntness and numbing, unflinching realism .
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klimov is commanding in his willingness to create abstract visual motifs, as when florya returns to his mother' s house with glasha and peers down into a well while looking for his family. we view florya through the back end of an organic cinematic telescope through which he sees himself. what florya doesn' t see are the mangled bloody bodies of his family and neighbors piled high against the backside of what was once his family' s home. glasha looks back and sees the carnage as they walk away from the area, but worriedly refrains from alerting florya to the horror just behind them .
in the third act florya becomes a roaming independent soldier with a knack for barely escaping nazi attacks. florya' s participation in expediting the extermination of a cornered group of nazis by handing a gasoline filled can to a nazi collaborator, is as suggestive an act as it is a literal one, for the belarusian peasants will open fire on the nazis before the fuel is ignited. florya gains an historic perspective of hitler that knows only annihilation. his hatred and fury seeks to eradicate the world of adolph hitler and his armies with tremendous prejudice. with his brain and body irreversibly changed, florya has become the only thing that he will ever be capable of being for the rest of his life, a soldier against hitler .
come and see
won the moscow film festival' s grand prize in 1985. afterward, klimov was elected as first secretary of the soviet filmmakers' union and, during his two years on the post, oversaw the release of more than a hundred previously banned soviet films. elem klimov went on to struggle with the idea of creating a film version of bulgakov' s
the master and margarita ,
and with making a film adaptation of dostoevsky' s
the devils .
however, in 2000, he gave up filmmaking because he felt that he had done
everything that was possible .
the visionary filmmaker died on october 26, 2003, and left behind a war film that accomplishes everything possible in cinema, and reinvents it.
come and see ( russian : иди и смотри , idi i smotri ; belarusian : ідзі і глядзі , idzi i hlyadzi ) is a 1985 soviet war drama film directed by elem klimov , with a screenplay by klimov and ales adamovich , starring aleksei kravchenko and olga mironova . set during the nazi german occupation of the byelorussian ssr , the film follows a young boy as he witnesses the atrocities committed on the populace . come and see had to wait eight years for approval from soviet authorities before the film was finally produced to commemorate the 40th anniversary of the soviet victory in world war ii , and was a large box-office hit , with 28,900,000 admissions in the soviet union alone . the film was selected as the soviet entry for the best foreign language film at the 58th academy awards , but was not accepted as a nominee . 
come and see (russian: иди и смотри, idi i smotri; belarusian: ідзі і глядзі, idzi i hlyadzi) is a 1985 soviet war drama film directed by elem klimov, with a screenplay by klimov and ales adamovich, starring aleksei kravchenko and olga mironova. set during the nazi german occupation of the byelorussian ssr, the film follows a young boy as he witnesses the atrocities committed on the populace. come and see had to wait eight years for approval from soviet authorities before the film was finally produced to commemorate the 40th anniversary of the soviet victory in world war ii, and was a large box-office hit, with 28,900,000 admissions in the soviet union alone. the film was selected as the soviet entry for the best foreign language film at the 58th academy awards, but was not accepted as a nominee.
come and see (russian: иди и смотри, idi i smotri; belarusian: ідзі і глядзі, idzi i hlyadzi) is a 1985 soviet war drama film directed by elem klimov, with a screenplay by klimov and ales adamovich, starring aleksei kravchenko and olga mironova. set during the nazi german occupation of the byelorussian ssr, the film follows a young boy as he witnesses the atrocities committed on the populace. come and see had to wait eight years for approval from soviet authorities before the film was finally produced to commemorate the 40th anniversary of the soviet victory in world war ii, and was a large box-office hit, with 28,900,000 admissions in the soviet union alone. the film was selected as the soviet entry for the best foreign language film at the 58th academy awards, but was not accepted as a nominee.