Come and See (The Criterion Collection)

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Come and See (1985) — release date in Russia and other countries - Film search]. Кинопоиск [Film search] (in Russian) . Retrieved 28 May 2023. Whitegirl Julia Stiles in Save the Last Dance". New York Press. 16 February 2015 . Retrieved 6 November 2021.

The Criterion Collection presents Elem Klimov’s Come and Seeon Blu-ray in its original aspect ratio of 1.37:1 on a dual-layer disc. The 1080p/24hz high-definition encode is sourced from a new 2K restoration performed by Mosfilm and scanned from the 35mm original negative. Outside of some archival material found on previous DVDs Criterion does appear to have ported everything over from the Kino/RusCiCo discs, which included three interviews: one with director Elem Klimov (21-minutes), actor Aleksei Kravchenko (14-minutes), and production designer Viktor Petrov (8-minutes). Petrov goes into getting the film’s more documentary-like look, from sets to cotumes, while Kravchenko talks about his casting (which he fell into) and the experience of working with Klimov and filming certain scenes. Klimov’s is the more in-depth interview, the filmmaker giving a history to the project (born out of a desire to show a true representation of the war after most films had been action-adventures) that spanned about 7 years because of censors and such having issues with the subject matter (his original title, Kill Hitler, was also a no-no). a b c "1985: 14th Moscow International Film Festival". MIFF. 28 June – 12 July 1985. Archived from the original on 14 May 2021 . Retrieved 17 July 2020.Wise, Damon (28 October 2013). "Top 10 war movies. 5. Come and See". The Guardian. London . Retrieved 4 July 2016. a b c d Марина Мурзина [Marina Murzina] (20 October 2010). Иди и смотри: съёмки превратились для Элема Климова в борьбу с цензурой[ Come and See: filming turned for Elem Klimov into fight against censorship]. Аргументы и факты [Arguments and Facts] (in Russian). No.42 . Retrieved 30 August 2016.

Salys, Rimgaila (2009). The Musical Comedy Films of Grigorii Aleksandrov. Laughing Matters. Bristol: Intellect Books. p. 151. ISBN 978-1-841-50282-3. The director’s brother, German Klimov, also records a new interview, running 27-minutes. He covers some of the same ground that his brother did in the other interview (including how the title Come and Seecame about, though it differs a bit here) but expands on many details, like the events that led up to the film finally being made, and then production specific things like filming the barn sequence, where they ended up using locals who were probably around when the actual events happened. He then closes off discussing his brother’s heading of the Soviet Filmmakers Union. Grain is very fine but is still visible and rendered cleanly, and I didn’t note any artifacts on screen. The restoration has also done a fantastic job in cleaning up damage: outside of the archival footage at the end of the film there is nothing to speak of, and even that archival footage has obviously gone through a process all its own, so that it ends up looking sharp and clear itself. Because this WWII in Belarus, which is between Poland and Russia, it's only going to get worse. It is enough to allude to further atrocities. However, the burning structure of villagers desperately trying to escape while Nazis laugh and clap and play music absurd to the scene, futher dehumanizing their victims, is another scene seared into my mind for all time.Flyora is partially deafened from the 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 searches an island across a bog. As they leave his village, Glasha sees a pile of executed villagers' bodies outside a house. The two become hysterical after wading through the bog, where Glasha screams at Flyora that his family is actually dead in the village, resulting in him pushing her into the water, then immediately trying to rescue her. What is seen in this artwork is the transition from child to an eldery person, with the atrocities of war as its catalyst. The disc then closes with a trailertouting the new restoration, along with a 10-minute production featurette from 1985 called The Story of the Film “Come and See,”featuring interviews with Elem Klimov, a young Kravchenko, and writer Ales Adamovich. The interviews are pretty brief but some behind-the-scene footage of Klimov rehearsing a scene makes this a worthwhile addition. Kirschenbaum, Lisa A. (2006). The Legacy of the Siege of Leningrad, 1941–1995. Myth, Memories, and Monuments. Cambridge University Press. pp. 180f. ISBN 978-1-139-46065-1.