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Idi i smotri free download torrent. Idi i smotri free download software. Idi i smotri free download free. Idi i smotri free download windows 7. Come and See Russian theatrical release poster Directed by Elem Klimov Screenplay by Elem Klimov Ales Adamovich Story by Ales Adamovich Based on I Am from the Fiery Village by Ales Adamovich Janka Bryl Vladimir Kolesnik Starring Aleksei Kravchenko Olga Mironova Music by O. Yanchenko Cinematography A. Rodionov Edited by V. Belova Production company Mosfilm Belarusfilm Distributed by Sovexportfilm Release date July 1985 ( Moscow) Running time 142 minutes [1] Country Soviet Union [2] Language Belarusian Russian German Come and See ( Russian: Иди и смотри, Idi i smotri; Belarusian: Ідзі і глядзі, Idzi i hlyadzi) is a 1985 Belarusian film directed by Elem Klimov filmed in the Soviet Union, with a screenplay written by Klimov and Ales Adamovich based on the 1978 book I Am from the Fiery Village [3] (original title: Я из огненной деревни, [4] Ya iz ognennoj Derevni, 1977) by Adamovich et al.. [5] The film stars Aleksei Kravchenko and Olga Mironova. [6] Come and See is generally viewed as one of the most important anti-war movies ever made, and one of the great World War II movies, with the most historically accurate depictions of the crimes on the Eastern Front. The film focuses upon the Nazi German occupation of Belarus, and primarily upon the events witnessed by a young Belarusian partisan teenager named Flyora, who—against his parents' wishes—joins the Belarusian resistance movement, and thereafter depicts the Nazi atrocities and human suffering inflicted upon the Eastern European villages' populace. The film mixes hyper-realism with an underlying surrealism, and philosophical existentialism with poetical, psychological, political and apocalyptic themes. Come and See had to fight eight years of censorship from the Soviet authorities before the film was finally allowed to be produced in its entirety to commemorate the 40th anniversary of the Soviet victory in World War II, and was a major 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. [7] Title [ edit] The original Belarusian title of the film derives from Chapter 6 of The Apocalypse of John, where in the first, third, fifth, and seventh verse is written "ідзі і глядзі" [8] (English: "Come and see", Greek: Ἐρχου καὶ ἴδε, Erchou kai ide) [9] as an invitation to look upon the destruction caused by the Four Horsemen of the Apocalypse. [10] [11] Chapter 6, verses 7–8 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. Plot [ edit] In 1943, two Byelorussian boys dig in a sand-filled trench looking for abandoned rifles in order to join the Soviet partisan forces. Their village elder warns them not to dig up the weapons as it will arouse the suspicions of the Germans. One of the boys, Flyora, finds an SVT-40 rifle, though the both of them are seen by an Fw 189 flying overhead. The next day, partisans arrive at Flyora's house to conscript him. Flyora becomes a low-rank militiaman and is ordered to perform menial tasks. When the partisans are ready to move on, an old partisan says that he wants to stay behind because his boots are falling apart. The partisan commander, Kosach, orders the old man to swap boots with Flyora and for Flyora to remain behind at the camp. Bitterly disappointed, Flyora walks into the forest weeping and meets Glasha, a young girl working as a nurse in the camp, and the two bond before the camp is suddenly attacked by German paratroopers and dive bombers. Flyora is partially deafened from explosions before the two hide in the forest to avoid the German soldiers. 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 that they are hiding on a nearby island across a bog. As they run from the village in the direction of the bogland, Glasha glances across her shoulder, seeing a pile of executed villagers' bodies stacked behind a house, but does not alert Flyora. The two become hysterical after wading through the bog, where Glasha then screams at Flyora that his family are actually dead in the village. They are soon met by Roubej, a partisan fighter, who takes them to a large group of villagers who have fled the Germans. Flyora sees the village elder, badly burnt by the Germans, who tells him that he witnessed his family's execution and that he should not have dug up the rifles. Flyora accepts that his family is dead and blames himself for the tragedy. Roubej 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 group unknowingly wanders through a minefield resulting in the deaths of the two companions. That evening Roubej and Flyora sneak up to an occupied village and manage to steal a cow from a collaborating farmer. However, as they escape across an open field, Roubej and the cow are shot and killed by a German machine gun. The next morning, Flyora 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 the SS unit (based on the Dirlewanger Brigade) accompanied by Ukrainian collaborators surround and occupy the village. Flyora tries to warn the townsfolk they are being herded to their deaths, but is forced to join them inside a church. Flyora and a young woman bearing a strong resemblance to Glasha manage to escape; the young woman is dragged by her hair across the ground and into a truck to be gang raped, while Flyora is forced to watch as grenades are thrown into the church before it is set ablaze and shot. A German officer points a gun to Flyora's head to pose for a picture before leaving him to slump to the ground as the soldiers leave. Flyora later wanders out of the scorched village in the direction of the Germans, where he discovers they had been ambushed by the partisans. After recovering his jacket and rifle, Flyora comes across the young woman who had also escaped the church in a fugue state and covered in blood after having been gang-raped and brutalized. Flyora returns to the village and finds that his fellow partisans have captured eleven of the Germans and their collaborators, including the commander, an SS-Sturmbannführer. While some of the captured men including the commander plead for their lives and deflect blame, a young fanatical officer bluntly tells the captors that their people have no right to exist and they will carry out their mission. Kosach then forces most of the collaborators to douse the Germans with a can of 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 play in reverse, but when Hitler is shown as a baby on his mother 's lap, Flyora stops shooting and cries. “ We are obliged to exterminate the population—this is part of our mission to protect the German population. I have the right to destroy millions of people of a lower race who breed like worms. ” — Adolf Hitler, 1941 [12] In the final scene, a partisan officer calls out to a low-ranking recruit. Flyora turns, but an obedient youth nearby rushes past him, and Flyora realizes he is now a full partisan. He then catches up and blends in with his comrades, marching through the woods as snow blankets the ground. As they disappear into the birch forest, a title informs: "628 Belorussian villages were destroyed, along with all their inhabitants. " [13] Cast [ edit] Aleksey Kravchenko as Flyora Olga Mironova as Glasha/Glafira Liubomiras Laucevičius as Kosach (voiced by Valeriy Kravchenko) Vladas Bagdonas as Roubej Jüri Lumiste as young German officer Evgeniy Tilicheev as Ukrainian collaborator and translator Viktor Lorents as the German commander Production and release [ edit] 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. [3] [14] [15] 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 Aleksey Kravchenko, who played Flyora and who later became a good actor, everything went smoothly. 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 coauthor, 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. " — Elem Klimov Come and See was shot only on Belarusian soil. 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. [17] For eight years, [14] filming could not begin because the State Committee for Cinematography (Goskino) would not accept the screenplay, considering it too realistic, calling it propaganda for the "aesthetics of dirtiness" and "naturalism". [16] 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, which was changed to Come and See from the original title, Kill Hitler [18] (Elem Klimov also says this in the 2006 UK DVD release). [19] The film was shot in chronological order over a period of nine months. [18] Aleksey Kravchenko said that he underwent "the most debilitating fatigue and hunger. I kept a most severe diet, and after the filming was over I returned to school not only thin, but grey-haired. " [20] [18] To prepare the 13-year-old Kravchenko for the role, Klimov called a hypnotist. " I realized I had to inject him with content which he did not possess, Mr. Klimov said. This is an age when a boy does not know what true hatred is, what true love is. In the end, Mr. Kravchenko was able to concentrate so intensely that it seemed as if he had hypnotized himself for the role. " [21] [18] To create the maximum sense of immediacy, realism, hyperrealism, and surrealism operate in equal measure. [22] Klimov and his cameraman Rodionov employed naturalistic colours, 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. [3] [18] [23] [24] Aleksey Kravchenko mentioned in interviews that bullets sometimes passed just 4 inches (10 centimeters) above his head [18] (such as in the cow scene). [3] At the same time "the mise-en-scène is fragmentary and disjointed: there are discontinuities between shots as characters appear in close up and then disappear off camera. " "Klimov employs a range of techniques that draws attention to the camera. The extreme close-ups of actors staring into camera is a recurring motif. " "Elsewhere... the moment of revelation is marked by a disorienting zoom-in/dolly-out shot". [3] The film was released on 17 October 1985, [6] drawing 28. 9 million viewers [18] [25] and ranking sixth at the box office of 1986. [25] In 2017, the film received an official restoration which won the Venice classics award for Best restored film, and was also shown in several European independent cinemas again. [26] [27] [28] In the United States, Kino Lorber released the film on DVD in 2001. It is currently out-of-print. As of September 2019, the film became available on the streaming service for the Criterion Collection, the Criterion Channel. On December 18, 2019, Janus Films released a trailer for an upcoming 2k-restoration that’s expected to premiere in February of 2020 with a theatrical run and then, possibly, a restored home media release through Criterion. [29] [30] [31] Music [ edit] The original soundtrack is rhythmically amorphous music composed by Oleg Yanchenko. At a few key points in the film classical music from mainly German or Austrian composers are used, such as Johann Strauss Jr. 's Blue Danube, sometimes mixed in with Yanchenko's music. The Soviet marching song The Sacred War, Russian folk song Korobeiniki and German folk song Im Wald im grünen Walde are played in the movie once. The German military march "Old Comrades " is played as the German army begins its attack on the village. During the scene where Glasha dances, the background music is taken from Grigori Aleksandrov 's 1936 film Circus. At the end, during the montage, music by Richard Wagner is used, most notably the Tannhäuser Overture and the Ride from Die Walküre. At the conclusion of the film the Lacrimosa from Mozart 's Requiem is played. Themes [ edit] It has often been noted how the film mixes a ruthless "hyper-realistic" take on the Holocaust during Operation Barbarossa, while at the same time hinting an underlying surrealist atmosphere without being "unreal". [32] [33] [34] [35] [36] [37] The image of Hitler shown in the film as a baby sitting on the maternal knees has no historical foundation. It is a photomontage devised by Klimov between this picture of infant Hitler and that of his mother A Focke-Wulf Fw 189, the aircraft that Klimov makes fly high above the protagonists' head The film mixes themes about philosophical existentialism, spiritual degradation, the human mind, etc, under Nazi carnage, extreme trauma, and also the politics behind the Nazi-German warfare, —with often poetic, classical apocalyptic themes, influences and "twilight state-like" or nightmarish, psychological dialogues. [38] [39] [40] [41] [42] [43] The film has been praised for how it shows one of human history's worst crimes with an honest and genuine take, rather than the more common, sentimental "Hollywood take" on the subject. The film's settings is often in vast, deep Belorussian forests and swamps. The nature (with both the hostility and fear and the peacefulness and beauty that can be found in it) plays a big role in the movie's symbolism and atmosphere. Politically it deals with the people's suffering under the Nazi invasion, and the essence and depth of the people's (both collective and individual) trauma, and also honoring the defense of the Slavic nations by partisans. As an anti-fascist and anti-war movie it brings up the ideological driving-forces behind the war on (and Holocaust in) Eastern Europe; i. e the Nazis' racial ideological hatred for so-called " Judeo-Bolshevism " as one of the main motives behind their genocides against Jews and Slavs. Come and See has been praised for the way it shows the Nazis on the Eastern Front as genocidal as they historically documented were, and for how it brings out the genuine sense of terror that people in reality felt with the mere presence of those forces. It shows their systematic calculated killings and their discretionary sadism. Klimov is said to make the viewer understand, and sense, what Fascism brought, in a metaphor of a "black plague", in similar style to the partisan song "The Sacred War" and it's lyrics' description of it (i. e "the fascist hordes' black wings" and similar writings), which is also featured in the film. The movie is generally viewed as one of the most important anti-war movies ever made, one of the great movies in history and one with the most historically accurate depictions of the crimes on the Eastern Front, and in general one of the most important Holocaust movies. [44] [45] [46] [47] [48] [49] Reception [ edit] Initial reception was positive. Walter Goodman wrote for The New York Times that "The history is harrowing and the presentation is graphic... Powerful material, powerfully rendered... ", and dismissed the ending as "a dose of instant inspirationalism, " but conceded to Klimov's "unquestionable talent. " [50] Rita Kempley of the Washington Post wrote that "directing with an angry eloquence, [Klimov] taps into that hallucinatory nether world of blood and mud and escalating madness that Francis Ford 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. " [51] Mark Le Fanu wrote in Sight & Sound 03/01/1987 that Come and See is a "powerful war film... The director has elicited an excellent performance from his central actor Kravchenko". [52] [53] [54] [55] [56] [57] According to Klimov, the film was so shocking for audiences, however, that ambulances were sometimes called in to take away particularly impressionable viewers, both in the Soviet Union and abroad. [14] [19] Also according to Klimov, during one of the after-the-film discussions, an elderly German stood up and said: "I was a soldier of the Wehrmacht; moreover, an officer of the Wehrmacht. I traveled through all of Poland and Belarus, finally reaching Ukraine. I will testify: everything that is told in this film is the truth. And the most frightening and shameful thing for me is that this film will be seen by my children and grandchildren". [58] The film has since been widely acclaimed in the 21st century. In 2001, Daneet Steffens of Entertainment Weekly wrote that "Klimov alternates the horrors of war with occasional fairy tale-like images; together they imbue the film with an unapologetically disturbing quality that persists long after the credits roll. " [59] In 2001, J. Hoberman of The Village Voice reviewed Come and See, writing the following: "Directed for baroque intensity, Come and See is a robust art film with aspirations to the visionary – not so much graphic as leisurely literal-minded in its representation of mass murder. (The movie has been compared both to Schindler's List and Saving Private Ryan, and it would not be surprising to learn that Steven Spielberg had screened it before making either of these. ) The film's central atrocity is a barbaric circus of blaring music and barking dogs in which a squadron of drunken German soldiers round up and parade the peasants to their fiery doom... The bit of actual death-camp corpse footage that Klimov uses is doubly disturbing in that it retrospectively diminishes the care with which he orchestrates the town's destruction. For the most part, he prefers to show the Gorgon as reflected in Perseus 's shield. There are few images more indelible than the sight of young Alexei Kravchenko's fear-petrified expression. " [60] In the same publication in 2009, Elliott Stein described Come and See as "a startling mixture of lyrical poeticism and expressionist nightmare. " [61] In 2002, Scott Tobias of The A. V. Club wrote that Klimov's "impressions are unforgettable: the screaming cacophony of a bombing run broken up by the faint sound of a Mozart fugue, a dark, arid field suddenly lit up by eerily beautiful orange flares, German troops appearing like ghosts out of the heavy morning fog. A product of the glasnost era, Come and See is far from a patriotic memorial of Russia's hard-won victory. Instead, it's a chilling reminder of that victory's terrible costs. " [62] British magazine The Word wrote that " Come and See is widely regarded as the finest war film ever made, though possibly not by Great Escape fans. " [63] Tim Lott wrote in 2009 that the film "makes Apocalypse Now look lightweight". [64] In 2006, Geoffrey Macnab of Sight & Sound opined, "Klimov's astonishing war movie combines intense lyricism with the kind of violent bloodletting that would make even Sam Peckinpah pause. " [3] [ failed verification] On 16 June 2010, Roger Ebert posted a review of Come and See as part of his "Great Movies" series, describing it as "one of the most devastating films ever about anything, and in it, the survivors must envy the dead... The film depicts brutality and is occasionally very realistic, but there's an overlay of muted nightmarish exaggeration... 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. " [65] Come and See appears on many lists of films considered the best. In 2008, Come and See was placed at number 60 on Empire magazine's "The 500 Greatest Movies of All Time" in 2008. [66] It also made Channel 4's list of 50 Films to See Before You Die [67] and was ranked number 24 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. [68] Phil de Semlyen of Empire has described the work as "Elim Klimov’s seriously influential, deeply unsettling Belarusian opus. No film – not Apocalypse Now, not Full Metal Jacket – spells out the dehumanising impact of conflict more vividly, or ferociously... An impressionist masterpiece and possibly the worst date movie ever. " [69] It ranked 154 among critics, and 30 among directors, in the 2012 Sight & Sound polls of the greatest films ever made. [70] Rotten Tomatoes reported a 96% approval critic response based on 23 reviews. [6] Klimov did not make any more films after Come and See, [71] leading some critics to speculate as to why. In 2001, Klimov said "I lost interest in making films... Everything that was possible I felt I had already done. " [21] Accolades [ edit] Awards Award Date of ceremony Category Recipients and nominees Result 14th Moscow International Film Festival [72] 12 July 1985 Golden Prize Elem Klimov [3] [15] [6] [25] Won FIPRESCI prize See also [ edit] List of submissions to the 58th Academy Awards for Best Foreign Language Film List of Soviet submissions for the Academy Award for Best Foreign Language Film References [ edit] ^ " Come and See (15)". British Board of Film Classification. 16 December 1986. Retrieved 29 May 2013. ^ " IDI I SMOTRI (1985)". British Film Institute. Retrieved 5 December 2018. ^ a b c d e f g Chapman, James (2008). "Chapter 2 war as tragedy (pp. 103ff. )". War and Film. Islington: Reaktion Books. ISBN 978-1-86189347-5. ^ Адамович, Алесь [ Adamovich, Ales]; Брыль, Янка [Visor, Vanya]; Калесник, Уладзимир Андрэевич [Kalesnik, Uladimir Andreevich] (1977). Я из огненной деревни... [ I Am from the Fiery Village... ] (in Belarusian). Minsk: Мастацкая лит-ра [Art lit-ra]. ^ Rein, Leonid (2011). The Kings and the Pawns. Collaboration in Byelorussia during World War II. New York City: Berghahn Books. ISBN 978-0-85745043-2. The stories of survivors from the burned villages were collected in the 1970s by three Byelorussian writers, Ales' Adamovich, Janka Bryl', and Vladimir Kolesnik and published as a book in Russian and Byelorussian under the title Ya iz ognennoj Derevni... [I am from the fiery village]. See Adamovich et al., Ya iz ognennoj Derevni... ( Minsk, 1977) ( p. 321). ^ a b c d " Come and See (Idi i smotri) (1985)". Rotten Tomatoes. Fandango. Retrieved 16 May 2019. ^ Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. ^ "Біблія, Адкрыцьцё, Кіраўнік 6. Read Bible online" [The Bible, Revelation, Chapter 6] (in Belarusian). Retrieved 30 April 2019. ^ Garland, Anthony Charles (2007). A Testimony of Jesus Christ - Volume 1. A Commentary on the Book of Revelation. 2007. p. 325. ISBN 978-0-978-88641-7. ^ Wise, Damon (28 October 2013). "Top 10 war movies. 5. Come and See ". The Guardian. London. Retrieved 4 July 2016. ^ The same biblical quote is at the center of the film Horsemen (2009). ^ " " Хатынь" - Политика геноцида | Геноцид белорусского народа" [Khatyn - Genocide policy | The genocide of the Belarusian people]. (in Belarusian). Khatyn memorial. 2005. Retrieved 6 June 2019. ^ Youngblood, Denise Jeanne (2007). Russian War Films. On the Cinema Front, 1914-2005. Lawrence, Kansas: University Press of Kansas. p. 197. ISBN 978-0-70061489-9. ^ a b c Dunne, Nathan (18 July 2016). "Atrocity exhibition: is Come and See Russia's greatest ever war film? ". The Calvert Journal. Retrieved 20 July 2019. ^ a b Noah, Will (10 January 2018). "Elem Klimov's Boundary-Pushing Satires". The Criterion Collection. Retrieved 11 November 2018. ^ a b Марина Мурзина [Marina Murzina] (20 October 2010). Иди и смотри: съёмки превратились для Элема Климова в борьбу с цензурой [ Come and See: shooting turned for Elem Klimov in the fight against censorship]. Аргументы и факты [Arguments and Facts] (in Russian) (42). Retrieved 30 August 2016. ^ Holloway, Ron (1986). "Interview with Elem Klimov". Kinema. Retrieved 11 November 2018. ^ a b c d e f g Niemi, Robert (2018). "Come and See [Russian: Idi i smotri] (1985) (pp. 61-63)". 100 Great War Movies. The Real History Behind the Films. Santa Barbara, California: ABC-CLIO. ISBN 978-1-440-83386-1. ^ a b "Elem Klimov about Come and see " (interview with English subtitles). Retrieved 30 May 2013. ^ Вера Маевская [Vera Maevskaia] (20 July 2004). Алексей КРАВЧЕНКО: "Со съемок фильма Климова "Иди и смотри" я вернулся не только страшно худой, но и седой" [Aleksey Kravchenko: "From the making of Klimov's film Come and See I returned not only terribly skinny, but also grizzled"]. Бульвар [Boulevard] (in Russian) (29). Retrieved 31 March 2018. ^ a b Ramsey, Nancy (28 January 2001). "FILM; They Prized Social, Not Socialist, Reality". The New York Times. Retrieved 5 May 2019. ^ Menashe, Louis (2014) [ 2010]. Moscow Believes in Tears. Russians and Their Movies. Washington, D. C. : New Academia Publishing, LLC. pp. 95 - 96. ISBN 978-0-984-58322-5. ^ Stilwell, Blake (26 April 2017). "This Soviet WWII movie used real bullets instead of blanks".. Retrieved 31 March 2018. ^ Gault, Matthew (28 May 2016). " ' Come and See' Turns the Eastern Front Into a Hallucinatory Hellscape".. Retrieved 31 March 2018. ^ a b c Youngblood, Denise Jeanne (2007). ISBN 978-0-700-61489-9. ^ Venice Classics Award for Best Restored Film - Premio Venezia Classici per il Miglior Film Restaurato: IDI I SMOTRI (1985) by Elem Klimov ^ ^ The Legacy of the Siege of Leningrad, 1941–1995. Kirschenbaum. ^ 100 Great War Movies: The Real History Behind the Films. Robert Niemi. ABC-CLIO, 2018. ^ Cinepaternity: Fathers and Sons in Soviet and Post-Soviet Film. Helena Goscilo, Yana Hashamova. Indiana University Press, 2010. ^ Goodman, Walter (6 February 1987). "Film: 'Come and See', from Soviet". Retrieved 30 May 2013. ^ Kempley, Rita (25 September 1987). " Come and See review". The Washington Post. Retrieved 7 January 2017. ^ 6 Non-Traditional Horror Films to watch this Halloween, by Jordon Jefferies October 29, 2015, The State Of The Arts ^ Steffens, Daneet (2 November 2001). "Come and See". Entertainment Weekly. Retrieved 20 January 2017. ^ Hoberman, J. (30 January 2001). "High Lonesome". The Village Voice. New York City. Retrieved 25 February 2014. ^ Stein, Elliott (18 August 2009). Retrieved 25 February 2014. ^ Tobias, Scott (19 April 2002). "Come And See". The A. Club. Chicago: Onion, Inc. Retrieved 25 February 2014. ^ The Word (41). July 2006. p. 122. ^ Lott, Tim (24 July 2009). "The worst best films ever made". Retrieved 25 February 2014. ^ Ebert, Roger (16 June 2010). "Come and See".. Retrieved 25 February 2014. Yet in the biblical context chosen by Klimov for his movie, always in Chapter 6 of the Apocalypse, verse 14 states: "the sky receded as a scroll when it is rolled up" ( 6:14 || Isaiah 34:4). ^ "The 500 Greatest Movies of All Time". Empire. November 2008. Retrieved 1 November 2013. ^ "Film4's 50 Films To See Before You Die". Channel 4. 22 July 2006. ^ "The 100 Best Films Of World Cinema". 2010. ^ Become A War Films Expert In Ten Easy Movies. ^ "Votes for IDI I SMOTRI (1985)". Sight & Sound. Retrieved 20 January 2017. ^ Bergan, Ronald (4 November 2003). "Obituary: Elem Klimov". Retrieved 8 June 2009. ^ "14th Moscow International Film Festival (1985)". MIFF. Archived from the original on 16 March 2013. Retrieved 9 February 2013. Further reading [ edit] Michaels, Lloyd (2008). " Come and See (1985): Klimov's Intimate Epic". Quarterly Review of Film and Video. 25 (3): 212–218. doi: 10. 1080/10509200601091458. External links [ edit].