Dear comrades
Director: Andrey Koncharovsky
Writers: Elena Kisleva / Andrey Konchalovsky
Starring: Julia Vestoskaya / Vladislav Komarov / Yulia Brova
Recently watched a movie, for a long time can not calm down, there are too many "unspeakable" doomed it can only lie in the net disk.
The terms of the related search are likely to "evaporate" in the future, returning to the silence of 404.
<h1 class="pgc-h-arrow-right" data-track="10" > which is the film "Dear Comrade" directed by the Russian film master Andrei Koncharovsky. </h1>
At present, this film occupies the top position in the one-week word-of-mouth list of Douban movies, receiving 8.5 points of evaluation, and even Xie Fei, the leader of China's fourth generation of film directors, appears in the short review.
Let's take a look at how Director Xie evaluates the film.
"Full marks" "Content is not said".
The old man seems to want to stop talking, why not say the content, understand the natural understanding, do not understand... Check out the movies.
It is worth mentioning that in "Dear Comrade", Koncharovsky once again uses a black-and-white picture narrative, which on the one hand makes the film's emotions restrained, on the other hand, it is more depressing.
The story is set in 1962 in the former Soviet Union Nova Chelkask caused by the bloodshed caused by the workers' general strike, a dusty past that was tightly sealed by the authorities until the 1990s...
The film's protagonist, Lyud Soumia, is a single mother working in the government department, living with her father and daughter, who has always believed in the government and loved the Soviet Union.
At the beginning of the film, she wakes up from her lover's bed and goes to the store to buy daily necessities with various bills. 1962 was a time of shortages, and residents often lined up to buy the goods they wanted.
Soumia, by virtue of her status as a government worker, has gained many privileges, such as prioritizing the purchase of goods, and for example, being able to obtain some limited supply or prohibited goods.
Back home, her father was waiting for her cigarette. The daughter is in the bath, and the young and energetic ketone body is displayed in front of the audience, which makes people's blood flow.
The daughter is young and lovely, working in the factory, the father is tough, Soumia has a decent job, and the family is still happy.
On June 1, everything changed, and due to the economic recession, the Soviet Union raised prices but lowered the rate of distribution of goods among workers, the strike began, and Soumia's nightmare began.
First, sommia's government agency, the City Council, was besieged by striking workers who refused to listen to any official explanations and broke the glass with stones, leaving Soumia and the others fleeing through the back door.
At the emergency meeting, Soumia said indignantly: "It is useless to talk to them, they should be arrested." ”
Lo and behold, this awe-inspiring "political correctness" is bound to "purge" all power against the government, and Soumia is a staunch supporter of governmentism.
This remark was endorsed by the general, and the decision to equip all soldiers with ammunition was finally made, implicitly - the armed suppression of the strike movement.
Back home, a distraught Soumya is worried about the strike, and her daughter is one of them.
The questioning of her daughter Svitranna made Somya directly break through the defenses, and she moved her hands in a hurry, and Svitlerranna snatched the door and went out.
This is Soumia's most direct practice and protection of her faith in government — not allowing anyone to insult, not even her own daughter.
The strike intensified as crowds stormed the building and smashed everything inside, including Khrushchev's portrait. Soumia and her colleagues had to abandon government buildings and seek protection from the military.
Before fleeing, he saw a mysterious man sneaking up to the attic with a cello bag, and she followed, only to see a sniper rifle.
"Roll", she was scolded out, and in the darkness she felt that something was going to happen. In the crowd, someone was secretly photographing the faces of the leading workers with cameras.
The situation eventually lost control, and the army fired its guns at the sky as a warning, but someone was shot and fell in a pool of blood, and the workers were first panicked and then angry. The military also panicked and, in order to calm the situation, turned the muzzle of the gun on the civilians.
Soumea suddenly remembered that her daughter might be in the crowd, and she rushed into the crowd, frantically looking for Svetlana.
Beside her, a series of living lives are passing away, and even the woman who has just been rescued is shot and killed in front of her.
The song of love for the Soviet Union was playing on the radio, and the picture was of unarmed workers being shot indiscriminately...
The repression was over, and the general was questioning who had fired the shots at the masses, and no one could answer.
The bodies were removed and randomly piled up on trucks, and the aftercare workers washed the blood on the ground with a water pipe, and in the black-and-white picture, it was impossible to distinguish where the water was and where the blood was.
The blood that seeped into the asphalt could not be removed, so the asphalt was re-laid, as the Soviet Union had done for the next thirty years, covering everything up.
The government required everyone to sign a confidentiality agreement and not disclose any information to anyone or be sentenced to capital punishment, and Soumia was also investigated by the KGB.
She did not give up looking for her daughter, her friend's residence, the morgue, the hospital, still nothing...
During this time, her faith began to waver...
At the wrap-up meeting, officials and factory owners laughed and laughed, mocking demonstrators who were defined as "rebels" and praising "good workers" who did not participate in the strike.
Soumia was reminded by colleagues that her previous views of calling for the arrest of workers had been asked to be written as a report to speak at the meeting, and this time she panicked. The "criminals" who are denounced by themselves are their own daughters.
She hid in the toilet and collapsed and cried, praying for her daughter to be safe and sound, and praying for God to forgive herself.
While in the morgue, Soumea saw only eight bodies, which was very inconsistent with the number of people who died in the incident. KGB agents in charge of the investigation told her that in order to cover up the truth, many of the bodies were transported to surrounding villages and towns and buried in secret.
Daughter, probably among them.
Once again, she embarked on the search for her daughter.
The officer in charge of the burial told the secret of the order under threat— her daughter was buried here, in an abandoned cemetery with no fence, on an unclaimed coffin board, and not even a coffin of her own.
She finally broke down, her beloved killed by her own faith and hastily buried in a very humiliating way.
Not only was there no decent funeral, Soumia was even told that it could not be commemorated because she was an "insurgent" who could not be known.
The existence of daughter Sylvitranna was obliterated.
The first person to shoot all this was the KGB, the Soviet intelligence service. They fired the first shots, making the military think the demonstrators had guns, and turning the muzzle of the gun, which had been facing the sky, to the workers.
Back in the main city, there will be another dance, perhaps to celebrate the suppression of the "riots" or perhaps to cover their eyes.
When she got home, Soumia was exhausted, but found that her father was cleaning her daughter's suitcase, she first wondered, and then quickly understood that her daughter was not dead, she quickly climbed up to the attic, found her daughter's hiding place, thanked the "miracle" for coming, the police officer who was responsible for burying the body recognized the wrong person, and the film ended in the embrace of mother and daughter...
There is no doubt that "Dear Comrade" is perfect in every way, as director Xie Fei said.
The black-and-white picture makes the film more chronological, while keeping the narrative of the whole film calm and restrained, while the audience tacitly acknowledges the accusations in the calm, those "unspeakable".
In the film, Koncharovsky returns to the academic format again, in short, rarely using close-ups, reducing emotional rendering, and relying entirely on the story to impress the audience.
In expressing family relationships, Koncharovsky uses "framed compositions" similar to those used by Yasujiro Ozu in films such as Tokyo Story and The Taste of Saury to show a family that is under the same roof but has its own very different worldview.
Soumia was a staunch advocate of governmentism, her daughter Svetlana was one of the striking workers, and her father, dressed in a former striped military uniform, believed in the Virgin of Kazan.
Armed repression is the climax of the film, which can be called a subtle stroke.
Throughout the history of world cinema, the famous "Odessa Ladder" in Eisenstein's Battleship General Bo is also a scene of soldiers shooting civilians. He used 155 shots, quick cross-cutting, and an almost magical juggling montage mixed with an intense soundtrack, maximizing the emotional tension and exhilarating the viewer, with a strong provocative nature.
(Classic shot of film history - Odessa Ladder)
"Dear Colleague" uses cold treatment, and Koncharovsky uses a peeping perspective, which is more immersive. In this long shot, chaotic but quiet. The windows cut off people's screams, cries for help and gunshots, and instead formed a counterpoint with the radio song "Praise the Soviet Union, call for comrades", which is more ironic.
Best of all, it's also the only soundtrack that appears in the whole film. Rather than "ignoring" the soundtrack, Koncharovsky is rather using this way to elevate the film's indictment to an insurmountable degree.
Imagine that in a film, there is no soundtrack, the only music is the call of "love the Soviet Union" played on the phonograph, and the scene it appears in is the Soviet military wantonly slaughtering the striking workers...