Elem Klimov
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The greatest war films are those which capture the terrifying physical and psychological ordeal that soldiers face, along with the sheer folly and waste of it all – Paths of Glory , Come and See , Apocalypse Now , Saving Private Ryan , most recently Dunkirk .
Technical brio, however, cannot redeem all that is callow and crass in Mendes’s movie: the dialogue is pure placeholder stuffing, the approach a clumsy collision of the Assassin’s Creed video games and Elem Klimov’s Come and See; the muck-daubed stars register as 21st-century theater kids who’ve been instructed to issue routine “Fucks” for purposes of establishing “raw” authenticity; and the lyric grace notes—a field of cherry trees chopped down in blossom, an abandoned baby being nurtured in a basement in a bombed-out cityscape—strain for a pathos that’s out of reach.
It’s etched in the face of Schofield, who evokes the hollow horror in the eyes of Florya, the shattered child in Come and See.
Join him for what he calls the scariest war film since Come and See.
Viewers concerned that they might be in for a gruelling first-person war story like Come and See or Son of Saul , two masterpieces that Mendes has cited as influences, can rest easy.
All Quiet on the Western Front (2022)
Directed by Edward Berger
influenced by Come and See (1985)
Themes Plot
Combining elements of “Son Of Saul,” “Come And See” and with a backdrop that will remind viewers of other great World War I films such “Paths Of Glory” and “1917,” “All Quiet On The Western Front” is an exemplary war film for the ages that is just as relevant and impactful as the 1930 Oscar Best Picture-winning American version, if not, even better.
As with Elim Klimov’s traumatic World War II cheese dream Come and See – an anti-war classic with which this German-language movie has drawn unenviable, but not unfair comparisons – Netflix’s lavishly budgeted All Quiet on the Western Front follows one young man through the fire: 18-year-old recruit, Paul Bäumer (Felix Kammerer, excellent).
In moments like this, the film has the episodic structure of something like Come and See (1985), which gradually exposes its innocent protagonist to one trauma after another until he’s little more than a cracked and empty shell.
The film's honeyed artistry may not sear the imagination like the phantasmagoria of Elem Klimov's Come and See , yet Falardeau's invitation to witness the horrors that have afflicted the Sudanese since the war ripped apart their homeland isn't beholden to bogus uplift.
One shot, recalling Elem Klimov’s antiwar flick “Come and See,” finds a burning house filled with wailing villagers as a backdrop to Amleth’s unflinching gaze into the camera.
Beasts of No Nation (2015)
Directed by Cary Joji Fukunaga
influenced by Come and See (1985)
Visuals Themes
Closer in spirit to Alfonso Cuarón's Children of Men than Elem Klimov's Come and See , which deployed a more subjective use of image and sound to convey the brutality of war on a boy's psyche, Beasts of No Nation is one maximalist, long-take-dependent display of violence after another.
The Africa-set drama is a relentlessly violent, vibrant, and electric film that is at once as druggy and entrancing as Coppola’s 1979 cut of Apocalypse Now and as sonically inventive as Elem Klimov’s Come and See.
It's more wise about how something like this should look, in other words, than how it should feel, and the epiphany one has while watching it isn't that this kind of thing happens in the world all the time, across centuries and continents, but that Beasts of No Nation looks a lot like Come and See before it looks a lot like The Thin Red Line before, finally, it looks a lot like Apocalypse Now.
And while it’s very of-the-moment to apply the descriptor of ‘horror film’ to anything sporting a notably sinister undercurrent (from Mulholland Drive to There Will Be Blood), the debasing effect of war is a real-world horror so elemental and so perpetually now that an unspoken exception must be made for the expressionistic likes of Full Metal Jacket, Come and See and, by association, a lesser but still worthy film like Beasts of No Nation.
In places, director David Ayer (End of Watch) goes for the hallucinatory horrors of the great Russian war film Come and See, as bodies pile up in heaps of limbs.
While no one could mistake Fury for Elem Klimov’s great Come and See, the film is defined by properly muddy battlefields, littered with corpses.
It's no Stalingrad or Come and See (and thank Christ for that), the ending is a little too rah rah (for a typist, Norman turns into a hell of a marksman), and Wardaddy's offhand philosophizing ("Ideals are peaceful.
The journey of a wide-eyed innocent across a fallen landscape is common territory for the war film, but like Kon Ichikawa's The Burmese Harp (1956) and even Andrei Tarkovsky's Ivan's Childhood (1962) Come and See enlivens and enriches the form (one of the dominants of Soviet cinema) through the iconoclasm and intensity of many of its images.
But if one can look past that — and you should feel no shame whatsoever if you can’t — The Nightingale is essentially an Aussie Come and See, in that it depicts the utter shameful terror of living under English rule in the Outback in the 19th century.
People are going to argue up and down about whether the extremes Kent goes to were really needed, but her film is evocative of other, similarly themed movies like The Searchers or Come and See in its depiction of vengeance's depressingly widening gyre.
Monos (2019)
Directed by Alejandro Landes Echavarría
influenced by Come and See (1985)
Themes Visuals
Coppola’s Apocalypse Now and Herzog’s Aguirre, Wrath of God have both been widely cited in critical responses to Monos , while Landes has noted that he and co-writer Alexis Dos Santos watched Elem Klimov’s traumatising child’s-eye view of war, Come and See , while collaborating on the script.
Visually Landes via brilliant casting and the evocative cinematography of Jasper Wolf, immerses the viewer in a hallucinatory narrative with shades of “Apocalypse Now” or “Come and See.”
Taking cues from such tactile Soviet war films as Come and See, Nolan’s Dunkirk is entirely experiential, yet entirely without gore.
That place is the movies, and the latest lightning-thrower is writer-director Christopher Nolan, who has channeled the likes of Steven Spielberg, David Lean and Elem Klimov (Come and See) to create his own war-movie masterpiece.
It’s the fact these events are well known that has presumably led to the less restrictive PG-13/12A ratings on both sides of the Atlantic, as even without a fixation on gory detail, this is a visceral, disturbing film, and probably the closest a studio tentpole will ever get to replicating the anxiety-inducing despair of Elem Klimov’s Come and See, a film which succeeded in enveloping the audience in the nightmarish PTSD of its young lead character.
Elem Klimov's 1985 "Come And See," Andrei Tarkovsky's 1962 "Ivan's Childhood," Alexei German's 1971 "Trial on the Road," to name but three, all unforgettable, harrowing visions.
The greatest Soviet-era war films, stretching from Grigori Chukhrai’s Ballad of a Soldier (1959) to Elem Klimov’s Come and See (1985), traded on hardships and tragedy.
The premise alone immediately calls to mind Forbidden Games and Come and See , but Szász honors those groundbreaking efforts by attempting a similar kind of daring, varied representation.
The Notebook was Hungary’s official submission to the Oscars in the foreign-language category, but the film consistently has more in common with a gallery-of-shocks war picture like Elem Klimov’s (far superior) Come And See than the Holocaust tearjerkers that typically catch the Academy’s attention.
The titular fog that creeps in might seem like a too-on-the-nose metaphor for the ambiguities of war for some, but it also brings with it a deep evocation of well-known Russian pics about WWII, from Elem Klimov’s “Come and See,” the greatest film on the subject of the war in Belorussia, to Alexei German’s “The Last Train.”
In The Fog is standing on the shoulders of giants like Mikhail Kalatozov’s The Cranes are Flying , Andrei Tarkovksy’s Ivan’s Childhood and - especially - Elem Klimov’s savagely beautiful 1985 epic Come and See , which addressed the Nazi occupation of Belarus directly.
But there’s also a pervasive, underlying layer of personal hardship and struggle: It doesn’t feel like a stretch to place Ida alongside, say, Roman Polanski’s Macbeth and Elem Klimov’s Come and See, films haunted by the loss of a spouse and a subsequent darkening in the filmmaker’s view of the worldview.
The journey of a wide-eyed innocent across a fallen landscape is common territory for the war film, but like Kon Ichikawa's The Burmese Harp (1956) and even Andrei Tarkovsky's Ivan's Childhood (1962) Come and See enlivens and enriches the form (one of the dominants of Soviet cinema) through the iconoclasm and intensity of many of its images.
Edward Zwick's WWII era Belarus is the same era and location as Elem Klimov's Belarus war drama "Come and See" except that "…
Gawain’s brush with a plucky miscreant (played by Barry Keoghan) on a corpse-strewn battlefield is equal parts “The Mists of Avalon” and “Come and See,” while a jaw-dropping encounter with a clan of bald-headed giants borrows from René Laloux’s “Fantastic Planet” as the film’s (relatively) grounded first half gives way to the unmoored fantasy of its second.
Mr. Tarantino aims for neither end of the scale; as war movies go, this one never rises to the level of Elem Klimov’s 1985 epic tragedy Come and See or sinks to the depths of The Dirty Dozen Hollywood heroics.
Many patches of Into the Wild brought to mind Come and See, a 1985 WWII film from Russia directed by Elem Klimov and lavishly praised by Penn, about a Bellarussan teen caught up in some of the unspeakable horrors of that war.
Minus the absurd ironies of “Catch-22,” the hallucinatory madness of “Apocalypse Now,” the clockwork precision of “Dunkirk” or the existential grimness of the recently rereleased 1985 Soviet film “Come and See,” there is something missing about “The Outpost.”