Come and See

This is the most useless and time wasted movie I ever watched in my life, i'm so disappointed in you all,

Hitler was a great man, there was only one nation wrong who were Jews,these are films that are used to gain empathy.Today we have seen what have these Jews done. Everything that is portrayed in this film is being done by Israel to Palestinians.With the help of God,we will hit you back and soon . Long live Hitler for killing these bloody Jews, I wish you could have kill them all,so that This world could be a better place.

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Come and See is one of the rare films that I can remember being emotionally drained upon its conclusion. The expression on my face as I sat there watching the credits scroll by seemed as worn and broken as that of the protagonist, Florya. The film follows Florya as he "joins" (i.e. obtains a gun) a partisan group resisting the German advancements in the forests of his native Byelorussia during World War II. What he witnesses at the ripe age of 12 changes a once open-eyed, smiling face into a weathered, traumatized one that has experienced the unimaginable. And of course the unimaginable were the Nazi atrocities committed during the war. Come and See does not focus on what the German Army did to the Jewish population but rather what they did to the native Soviet population. The Nazis were not only concerned with the utter destruction of the Jews but of the Bolshevik Party as well. And to Hitler that meant any man, woman, or child living under communist rule. And this "cleansing" fell into the hands of the SS who, as depicted in the movie, literally destroyed every sign of life. Florya is able to escape death, unlike the rest of his family, but serves as a witness to the destruction and in this sense "dies" as his innocence and youth is lost. Klimov does a masterful job and depicting this slow death by concentrating on the facial expressions of Florya versus that of the Germans and both of their transformations over time. Klimov's Hitler montage at the end is especially moving and puts an interesting spin on the whole "what if" question. This is the most historically accurate war movie I have ever seen and would highly recommend it to any war/history enthusiast. But I would also recommend it to any film watcher that realizes the goal of the medium which is to evoke emotion in the audience, and Come and See does just that.

Historical note: "The film concerns the Nazi policy of "total annihilation" in the republic of Byelorussia (now known as Belarus or White Russia, adjacent to Poland) in 1943. The racial policy of the Nazis was to eliminate all "inferior races" such as Jews and Slavs from Eastern Europe and to make land available for German settlement in the east (Lebensraum). Because of the importance of Eastern Europe to Nazi policy the bulk of the German Army was sent to the eastern rather than the western front. Estimated that 20 million or more Russians (by Russians I mean the people of many nationalities that included Russians, Ukrainians, Byelorussians, Jews and many others who used to live on the Soviet territories occupied by Germans during 1941-1943) died fighting Hitler (recent estimates place figure 25-30 million). Units of the SS (Schutzstaffel) and SD (Sicherheitsdienst) were used to carry out the genocide. The SD was separated from the main body of the German Army (Wehrmacht) and made up of fanatical Nazis and fascist East European (often from the Baltic) collaborators." Elem Klimov's and Ales Adamovich's Film is perhaps one of the most powerful and horrifying films about the war (I would add Tarkovsky's "The Childhood of Ivan" aka "Ivanovo Detstvo" and Mikhail Romm's documentary "Obyknovenny Fascism" aka "Ordinary Fascism" aka "Triumph Over Violence"). Not for a moment would the film let the viewer relax. With each scene, the feeling of horror increases. We are transformed into the main character, 16 year old boy Florya. We are forced to see with his eyes, to hear with his ears. In the beginning of the film, Florya is a child. At the end, after having witnessed the unspeakable terrors of the fascists, he becomes an adult, and not just an adult – an old man. His face is the face of War – and it is to us, the viewers, authors say – come and look in this face if you dare. War unmistakably selects as its victims the weakest, the youngest and the tenderest - the authors could not go against this truth. In the military camp, Florya meets the young girl, Glasha. Together, they try to make their way to the village where his family lived. But no one is there, it is empty - it is burnt out. And again some force pushes Florya, Glasha and us to go further. But where? To the shed where the women and the children are burning alive? Into the hands of the rapists- fascists? Or to be photographed with the revolver put at your temple, surrounded by the laughing SS-men? Is there any way out of the Inferno of War? The mystery of the final episode… Florya can not force himself to shoot the child at the photograph sitting at his mother's lap. Even if the child's name is Adolph Hitler. Florya puts his rifle down. The clear blue sky is above him. Sounds Mozart's "Requiem". What is this? Victory? Or defeat? Did Florya survive or did he perish like millions and millions during the endless days, months, and years of the worst war the humankind had known? Even if survived physically, he is a changed forever man, the man who looked triumphant death and horror in the eye for too long to ever forget them.

"Come and See" is bizarre, disturbing, and haunting. It is more moving and enlightening than all of the other (mostly disappointing) films I have seen depicting the Russian front in World War II. Strangely enough, the Red Army is entirely absent from the movie. As a Russian film, it begins less conventionally than most films produced in the west. It starts off very surreal, and it is difficult at some points to understand what is going on or what certain characters are doing. This gives the theme a foreign and realistic feel. We follow the life of a peasant boy in Byleorussia in 1943, as he joins the partisans. Certain events involving his family and his introduction to the partisans (especially one involving a young girl) make his fight more personal. Strange interactions between characters and Director Elem Klimov's follow tracking shots dominate the film, and give it a unique method of storytelling. Then the nightmare begins. The destruction of a Russian village is the horrific centerpiece of the story. It is brutally realistic, with more tracking shots that hold for long periods of time without cutting. We see the German Wehrmacht burn a barn loaded with civilians to the ground as these soldiers clap, smile, and embrace each other. The chaotic action involves many scenes that are sporadic (flames burning out of control, a German soldier accidently shoved into the barn house with the victims) and possibly improvised, which lend a great authenticity to the material. The images are unforgettable, and will stay with you long after you've seen the film. Klimov has succeeded in putting the viewer in the village. Surprisingly, despite coming out of the Soviet Union in 1985, "Come and See" never felt to me like propaganda. There was no communist rhetoric, and the heroes were all partisans, many of which were flawed. The Germans aren't caricatures at the same time they commit acts of evil, and view their actions in a banal way. When one of them defends the atrocities of his platoon, he states, "inferior races spread the microbes of communism." The character delivers this line not with fierce anger, but with nonchalance, as if it were common knowledge, not something that he needs to explain to anyone. Some reviews have criticized the "afterthought," a rewind of the Nazi rise to power and invasion of Europe, as unnecessary. It may be, but it is still powerful. Other "flaws" people find with the movie are all characteristics of the director's style, therefore I don't find them flaws. "Come and See" is a great, very different, and very moving film. Grade: "A-"

In all fairness, this Belorussian-made World War II picture detailing Nazi atrocities, holds a special distinction in world cinema: it is by far the most brutal and emotionally draining of all - in fact, a viewer whose senses have not been properly trained would most likely find it unwatchable. Those brave souls willing to be put through an ordeal of almost 2 1/2 hours will find themselves deeply immersed in an absolutely horrifying experience that will not easily subside whether they want it to or not. The title, "Come and See", taken from the frequently repeating lines of the book of Revelation, clearly dares the audience to assume the role of St. John, witnessing the Apocalypse, or rather one of the darkest periods in the history of humankind. What we are assaulted with, plays somewhat like a demented version of "Modern Times" transpiring across the panel of Brueghel's "Trimuph of Death", if such a combination is possible. The camera is consistently filtered through a murky, slightly unfocused gaze, and the sound is often heard through shellshocked ears. This tends to eirly distance the events, yet make them even more frightening and unsettling. Much of the dialogue lacks specific meaning or even concrete sentences - it is replaced by subhuman growling, wailing and other spine-chilling, gluttural sounds of the war. What the director prepares is something Spielberg would never even dream of - no sign of compromise with the audience. A crowd of civilian villagers locked up in a barn by Nazi soldiers is not spared at the last minute like "Schindler List's" Jews- they are burned alive, and we get to watch all of it. Unlike most of the films in this genre, "Come and see" relies mainly on images and sounds instead of a coherent plot, which is not necesserily a weakness, since the sheer terror distorts time and space into a kind of hallucinatory blur, clearly intentional and understandable. But this incredible level of bleak intensity in the long run, has a negative effect on the film: the viewers have to desensitize themselves just so they can keep watching, so the most harrowing scenes are sat through in numbness. Another questionable move on the director's part is his occasional use of surrealism. While some visuals are painfully believable, while others are simply baffling: crazed villages consructing an effigy of Hitler, a pensive German commander with a pet slender loris (a rare African primate) on his shoulder, a female Nazi eating raw red lobster, not even mentioning a bizzare final montage wich is both inexplicable and obvious, ending with a real-life photograph that is perhaps the most terrifying of all in its implications. Yes, at times the movie overachieves its goals and seems almost like the footage in "The Clockwork Orange" that they made Alex watch to cure him of "ultraviolent" behaviour; yet other times it delivers the kind of jolts those accustomed to mainstream cinema could only wish they had. The face of a youth who had lost all sanity and aged many decades over several days, will be etched for an indefinite amount of time into the memory of anyone who has seen this film.