Russian filmmaker Elem Klimov’s best known film in the West is the gripping, internationally acclaimed war drama Idi i Smotri/Come and See (1985), a film that simultaneously chronicles the rape of the Byelorussian people and their land by the Nazi invaders in 1943 and pays tribute to the strength and resilience of the Russian peasants who stood fast, determined to survive in the face of genocide. His earlier films were satires that criticized the communist state. In turn, his work was not appreciated by authorities. Klimov also directed a few sports docudramas. Another of his better known films is Agoniya/Rasputin (1975) a biography of the notorious rake in which Klimov blended old documentary footage with new dramatic, color scenes. The film was considered without point and was not released in the Soviet Union until 1981 at the Moscow Film Festival. His 1985 entry in the same festival, Come and See earned Klimov the Grand Prix. He was married to noted filmmaker Larisa Shepitko who… read more
Klimov's attempt to bring Rasputin's final year to life is unfortunately a failure mostly due to casting. Petrenko's performance is one of overacting and mugging making Rasputin look more like a clown than a perverted by power monk. Tone of film is all over the place though one must respect the use of documentary and recreated footage intersperced throughout. First half hour is quite informative and interesting.
It's definitely an unfocused film, Klimov seems to have the appropiate idea combining doc footage within the movie but the truth is, the historical details depicted are not on par with the plot, which simplifies to the point of having only a handful of largely unconnected crucial moments thrown in succession, which left me a bit startled since Klimov's artistry is so adroit here. A very interesting film nonetheless.
interesting in so much as it displays the awkward nature of Klimov's transition from bitter satire to serious historical work. Immensely ill disciplined with some scenes of awkward humour, some musical numbers and more than a few that just dont make sense and should have been edited out. once again critiques of the Soviets and christian iconography abound. ambitious, engaging but ultimately an awkward failure.