At the time when the castings for The Ascent were taking place, Vysotsky was starring in the film The Negro of Peter the Great. "[6] The result of the work became a 70-page script that Shepitko then meticulously edited. Drama, Geschiedenis 111 Samenvatting. Shepitko’s husband Klimov created Larisa (1980), a short film in her memory, combining visual archival material – photographs, fragments of Shepitko’s films, and shots from the unfinished project – with recordings of Shepitko’s voice and interviews with her colleagues. There are elements…. The Russian POW joins the partisan guerrillas and proves his loyalty fighting the Nazis. Two Soviet soldiers leave their starving unit to search a nearby farm for supplies. At least, that is what I thought for the first 30 minutes. She had faith and that was the reason. Shepitko's habit of clearly stating her thoughts contributed to a successful transmission of information; she always avoided abstruse terms that might mask the lack of clarity. Technical and organizational difficulties led to the necessity of calling an ambulance for the director's health. And I gotta shout out Anatoly Solonitsyn who i had only previous seen in Tarkovskys' work, but in this work he was playing the line of evil and regretful perfectly, this man always delivers. This intense dramatic examination of the effect of battle on two soldiers thrown together by the circumstances of World War II is brutal and often difficult to watch; it is a black and white film, and since most of the action occurs in the snow, it sometimes approaches the look of an abstract painting.In what is now Belarusa, the two men from different backgrounds are ordered to leave the camp to find food; on the way they encounter Nazi soldiers and are captured along with members of local peasantry; interrogation and torture follow. [6] Twenty or thirty minutes after Masherov had started watching, he found he could not tear himself away from the screen, and by the middle of the movie he was crying, without hiding away from the republic's leaders who were present in the hall. Shepitko is masterful. But he felt that the character would turn out to be little but a caricature, as in cheap popular literature. The performances. Landscape of earth, what can be read there and in the faces of its inhabitants? The same fate befell Nikolai Gubenko. You must be a registered user to use the IMDb rating plugin. I haven't seen most of these movies.…, gabriel guimarães? ", Anatoly Solonitsyn at first did not see anything interesting in what he thought of as a "supporting role", and which he considered a "rehash" of what had been filmed earlier. 1h 51min | Drama, War | 1977 (Norway) Two Soviet partisans on a mission to gather food contend with the winter cold, the occupying Germans, and their own psyches. During this long sequence, one can feel the heaviness of the wounded, snow-covered body, the difficulty of the bare struggle for survival. var zergnet = document.createElement('script'); The Ascent is a visually gorgeous film about pride, consequences, regret, sacrifice, and shame that I definitely should have seen earlier in the day when I was more awake. A high functioning procrastinator who passionately writes on films. It starts one place and by the end, it has assaulted the viewer with its harrowing atmosphere and haunting camerawork that forever will be imprinted in my mind. This was not possible without the…. These elements heighten the physicality of experience in moments of heightened emotional tension. Overall, just really fantastic. Goes beyond words. Directed by Larisa Shepitko, "The Ascent" is a harrowing war movie whose chain of events deliberately builds to a powerful finale. Shepitko is masterful. He even endures the torture silently like Jesus Christ. It was impossible to be one person on the set and to be another one in real life. This is what feels like to stare in the face of death. The Ascent, ascent, 1977, Larisa Shepitko, 1080p, hd, english, russian full 1080p hd transfer of the ascent from 1977. As he heads back to the camp with his new comrades, Rybak is vilified by the villagers. As the narrative unfolds, complex moral and existential dilemmas arise. Aesthetically, it is very impressive with a gorgeous and grand cinematography. There are elements…. For example, in one long scene, the partisans are running away with difficulty through the thick snow from their pursuers. The decision to shoot black and white in an already primarily white environment makes you feel like you’re freezing to death right along with em, "Forgive me"The Ascent (Shepitko, 1977) is basically like if you took the two main characters and put them in the setting of Come and See (Klimov, 1985). Largely unheard even amongst the avid cinephiles, receded into limbo, and overshadowed by another Russian anti-war drama ‘Come & See’, ‘The Ascent’ is a multifaceted character study of individuals caught in the middle of war & the war within. Gostyukhin's rude manners initially alienated other members of the selection committee but Shepitko explained away his behavior as shyness and decided to audition the candidate who had already at the first rehearsal made a strong impression on everyone with his dedication in realizing the character. The Ascent. I had never heard of this film until reading James Schamus's top ten list on Criterion.com. That personal aspect only makes how tragic this film is worse. However, it comes with the heavy psychological ordeal, subconsciously stemming out of the complex ethical quandary. The Ascent, directed by Larisa Shepitko, is not only a tremendously realistic depiction of the horrors of war but also a compelling study of the human condition. Furthermore, The Ascent emphasises a visceral engagement with the natural world, with close-ups of figures covered in snow and ice and shots of brittle tree branches coated in crystalline frost. The performances. [2] It was also selected as the Soviet entry for the Best Foreign Language Film at the 50th Academy Awards, but was not accepted as a nominee.[3]. He said that almost no one knew what effort Shepitko gave when shooting each frame. The film won the Golden Bear award at the 27th Berlin International Film Festival in 1977. The Ascent is an incredibly powerful film that shows how the human spirit and human will is crushed underneath the worst conditions. Boris Plotnikov later said that he would have liked to repeat this experience in other films, but never did. The two main characters' own eyes are certainly meant to be windows into their souls, but the same could be said of other characters' eyes watching them. Every day she was haunted by the possibility of death; reading the novel Sotnikov by Vasil Býkaŭ during this period helped Shepitko express this state on the silver screen. If you are an Australian resident, any donations over $2 are tax deductible. The film gradually descends into a layered exploration of complex existential issues with regard to the purpose of human existence. Report this film. Here, the influence of Fyodor Dostoyevsky on Shepitko’s work becomes evident, as voiced elsewhere by the filmmaker herself as well as by critics and scholars. Where it leaves the characters was the absolutely worst thing that could have happened to my sleep. Firsova was an administrator of an association of military-patriotic films. On Reality and Imagination: An Interview with Documentarian Dai Sil Kim-Gibson, Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, Corporal Punishment is Better than Nothing: The 3rd Sydney Underground Film Festival, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival, Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, Jason Merill. garykmcd. The soldiers’ perilous journey, however, leads to a series of fateful encounters, including their capture, interrogation, and torture by Nazi soldiers and collaborators. After realizing that all world is spoiled, Marie and Marie are committed to be spoiled themselves. Amazing B/w cinematography especially with its close ups. During the Great Patriotic War (World War II), two Soviet partisans go to a Belarusian village in search of food. An entomologist on vacation is trapped by local villagers into living with a woman whose life task is shoveling sand for them. Shepitko avoids the usual gruesome battle sequences and the displays of gallantry to settle for an intimate exploration abetted by the minimalistic setting. For example, in the finale of the original story Rybak decides to hang himself in the latrine but discovers that he forgot to ask for the belt back which had been taken by the policemen an evening before. A bleak picture. The most important element, besides her keen-eyed direction, is Vladimir Chukhnov and Pavel Lebeshev’s evocative direction of photography that captures the struggle of survival on the brutal landscape, almost entirely shrouded in white. [6][7] Shepitko practised the "engineer's" approach: she did not tolerate uncertainty or haziness in work and did not rely on director's improvisation or creative inspiration. Not sure what else to say, seek out this extremely powerful, grim and very human war film, or not if you don't want to feel completely miserable. Multiple viewings needed. Sovjet-Unie, India, 1977. Check out the official top 100 narrative feature films by women directors list, A very rough list of eccentric cerebral films - films that are consisted of many wonderful imaginative ideas and creations,…, Updated: October 28, 2020 Created: January 19, 2013 View More Lists Follow Me, The Criterion Collection is a video distribution…, *NOTE “foreign film” is, like everything, a dumb made up concept. Larisa Shepitko has left behind one of the greatest films ever made, one that deals with the senseless brutality of war, stoicism, betrayal, and martyrdom - Either you live to die or die to live, you make your choice and suffer the consequences thereafter. The Ascent is a visually gorgeous film about pride, consequences, regret, sacrifice, and shame that I definitely should have seen earlier in the day when I was more awake. [5] Officials met Schnittke's score with resistance and they ordered that the allusions to biblical texts be removed. Feeling weak my psyche spent, a truly humbling experience to witness a man Sotnikov (Boris Plotnikov) facing death and do so with such extraordinary grace, integrity and honor! The 1001 Greatest Films, ranked as objectively as possible, The 100 Greatest Documentaries, ranked as objectively as possible, If you like (American film) watch (foreign film), Official Top 100 Narrative Feature Films by Women Directors. The young and sickly Sotnikov (Boris Plotnikov) and the physically stronger, experienced soldier Rybak (Vladimir Gostyukhin) are ultimately forced to choose between life and death, as survival will only become possible by betrayal. Subscribe to Senses of Cinema to receive news of our latest cinema journal.Enter your email address below: Larisa Shepitko’s black-and-white feature film Voskhozhdeniye (The Ascent, 1977) is based on the 1970 novella Sotnikov by the Belarussian writer Vasil Bykov. Yet, it still manages to find a visual elegance in the land of snow-covered forests near the historic city of Vladimir Oblast. A powerful film with incredible sequences. The realization of what was subsequently necessary came to her suddenly while she was recuperating at a Sochi sanatorium, but her creative plans were undermined by a disastrous fall, which resulted in a serious concussion and a spinal injury. [16], German poster - (left to right) Rybak, the village headman, Sotnikov, Basya, Demchikha, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, sfn error: no target: CITEREFКлимов1987 (, List of submissions to the 50th Academy Awards for Best Foreign Language Film, List of Soviet submissions for the Academy Award for Best Foreign Language Film, https://en.wikipedia.org/w/index.php?title=The_Ascent&oldid=984962688, Creative Commons Attribution-ShareAlike License, This page was last edited on 23 October 2020, at 03:57.
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