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Movie Review: Come and See (1985) – A Harrowing Masterpiece of War Cinema
Introduction
Directed by Elem Klimov, Come and See (Idi i smotri) is not just a war film—it is a psychological assault on the senses. Released in 1985, this Soviet-era masterpiece offers one of the most harrowing depictions of war ever put on screen. Set during World War II, it follows a young Belarusian boy, Florya, as he experiences the horrors of Nazi occupation. Through its surreal, nightmarish cinematography and visceral storytelling, Come and See is a devastating anti-war statement that refuses to glorify combat or offer easy answers.
Plot Summary
The film opens with Florya Gaishun, a teenage boy living in a Belarusian village in 1943, digging in the sand to find an abandoned rifle. His discovery marks his initiation into the Soviet partisan resistance against the Nazi invasion. Excited to join the fight, Florya is initially eager, but his optimism quickly crumbles as he is abandoned by his comrades and left to witness the true horror of war.
From there, the film takes a surreal and deeply disturbing turn as Florya endures starvation, bombings, massacres, and psychological trauma. His once-innocent face transforms into that of an aged, broken man—a chilling visual metaphor for the irreversible damage of war. The climax, in which an entire village is burned alive in a realistically-staged atrocity, is one of the most harrowing sequences in cinema history.
Cinematography & Direction
Elem Klimov uses natural lighting, long takes, and close-up shots to heighten the film’s realism and emotional impact. One of the most iconic aspects of Come and See is its use of direct eye contact with the camera, making the viewer feel complicit in the horror. The film’s sound design is equally nightmarish—droning sirens, dissonant music, and ringing in the ears (simulating hearing loss) create an unsettling atmosphere.
One particularly striking scene is Florya’s transformation—his face gradually deteriorates under layers of ash, dirt, and terror. The use of subjective camera work—where the audience sees events from Florya’s deteriorating mental state—makes the film even more disturbing.
Themes & Symbolism
• The Destruction of Innocence – Florya begins the film as a bright-eyed boy eager for adventure. By the end, he is aged beyond his years, a victim of war’s dehumanizing force.
• Surreal Horror & Trauma – Come and See often feels like a horror film, with war presented as a nightmarish, inescapable force. The unrelenting brutality mirrors the real-life atrocities committed by the Nazis.
• The Nature of Evil – Unlike many war films, there are no heroics here. The Nazis are portrayed not as soldiers, but as agents of pure destruction, laughing as they commit genocide.
Performances
• Aleksei Kravchenko (Florya) delivers one of the most haunting performances in film history. A non-professional actor at the time, Kravchenko was subjected to actual psychological stress during filming, which contributes to his disturbingly realistic portrayal.
• Olga Mironova (Glasha) provides a tragic contrast as a girl who briefly accompanies Florya, symbolizing the fleeting beauty and fragility of youth before being crushed by war.
Legacy & Impact
• Widely regarded as one of the greatest war films ever made, Come and See has influenced directors like Steven Spielberg, Christopher Nolan, and Andrei Tarkovsky.
• The film was banned or heavily censored in some countries due to its graphic depiction of war crimes.
• It remains a staple of anti-war cinema, alongside films like Schindler’s List, Grave of the Fireflies, and Paths of Glory.
Final Verdict: 10/10 – A Cinematic Nightmare
Come and See is not an easy watch. It is not a film made for entertainment—it is an experience, one that leaves the viewer emotionally drained. Brutal, unflinching, and deeply disturbing, it captures the horror of war without a single ounce of romanticism.
If you’re looking for a realistic and harrowing depiction of war, Come and See is a must-watch. Just be prepared—it will stay with you long after the credits roll.
BY RUE MORGUE RECORDS
