"Liberation: Fire Arc (1968)" Movie Review Essay & Film Analysis

A quarter-century after the victory in the most difficult war in the history of the country and humanity in the Soviet Union decided that it was time to create a master film about the war, which would have shown her from the offices of leaders of the opposing coalitions and the General Staffs of the armies of the trenches in which fought ordinary soldiers . As always, establishing the historical pattern was not without the influence of the political situation and artistic traditsiy- which gave the new film and its drawbacks and its advantages.
turn of 60-70-ies. He brought to the Soviet public life element of monumentality and solidity to match the style of leadership, which came to power a few years earlier. Brezhnev Politburo itself looked like a monumental composition, extent zabronzovevshuyu, in the best traditions of socialist realism. There is little that resembled them also own davnosti- decade younger, more bright, driven by boundless energy "dear Nikita Sergeyevich." Setting "dear Leonid Ilyich 'gravitated to the Stalinist Empire-style tradition, not only in politics but also in art, including in' crucial for nas' cinema. But in politics the restoration of Stalinism has not turned to the end of completed and in the cinema a new saga is not repeated the memorable "The Fall of Berlin '. Just as Brezhnev's stagnation compared with Stalin's orgy was more vegetarian era and kinotvoreniya stagnation could not look away until the end of the humanistic ideals of the thaw in the direction of 'monumental propaganda',
kinoagitok from the Stalin era in the 'release' something there is. It is neatly dressed in a shirt with a brand-new, certainly hung Orders (heroes poglavnee) or at worst -pair medals (officers and men). This is the first time the on-screen after Khrushchev's revelations figure of the 'father of the nation', sedately paced the carpet in the Kremlin office and utters the deserted in respectful stupor revelation generals like '' Stalingrad is a big defeat of Hitler and the military, and political. " Plus another line further humanization of the cult architect with an episode of the German offer to exchange the captive son Jacob to Field Marshal Paulus and chased the answer 'I am a soldier in the Field Marshal's not me.' The sympathies of the director and the writers are quite clear, though not bezogovorochny- still dull at times they have hinted that for the leader lyudi- still splinters flying in cutting lesa- in conversation stage Zhukov before the start of the counteroffensive asking to set a date of July 15 and hearing in response to the mouth of the highest 'We assume this deadline. " No wonder the main goodie ozerovskih epics, in which it is exactly love, -Zhukov after this conversation, shaking his head and grudgingly mutters 'Supreme hurry ...' And in a scene in the camp, when the German proposal to cooperate rank prisoners grimly silent, and after the message by the fact that Stalin ordered all surrendered prisoner considered traitors Rodiny- it comes from though only a few - almost outspoken anti-Stalinist affront. High price of haste, measured in lives of soldiers at the front knew all-too well from private to marshal.
Appreciating attention to the fate of individuals in war-fashion institutions in the period of 'thaw' and highly regarded, and the audience, and critics in films such as' Clean sky ',' The cranes Are Flying "," on seven vetrah'- filmmakers did not dare to refuse from it completely by entering into a film with a lyrical line Tsvetaev (N. Olyalin) and Zoe (L. Golubkina), which true, at times looks so neorganichno in this film that critically e arrows in this idea ran the Soviet critics even in the times of the triumph of the picture in the 70-early 80-ies., when it was considered by far the main movie about the war. Oddly enough, the human dimension of war often breaks in other episodes. For example, in the already described the scene in a concentration camp when General -vlasovets persuades Jacob Dzhugashvili write a letter to his father with a request to exchange it for Paulus, is the intonation and expression in his eyes, that Stalin's son rejects this may be the last chance for spasenie- mixture of suffering and sorrow at the same time reshimosti- outweighed by its emotional impact all other lyric insert.
Yet 'Osvobozhdenie' film primarily about the war. And this war is represented here extensively and in a big way. If the artistic height and depth disclosure of the human characters in the 'Liberation' many competitors, in terms of their kinobatalistiki had virtually none. Episode Panzer attack Prokhorovka when the viewer looming vsamdelishnye "tigers" (specially made for this case on one of their Moscow factory option), leaving a burning Soviet "Thirty", as well as the subsequent description of the oncoming tank battle with skhlestnuvshimisya tanks and here and there to mate between them to death in the melee of the tank crews already lined mashin- unmatched in the domestic and in my vkus- and world cinema battle scene.
Gallery historical persons ments acting kartine- too strong her side, especially given the portrait likeness, which in some cases (especially in the case of model (P. Sturm), Mussolini (I. Garran) Vatutin (S. Kharchenko) Wasilewski (E. Burenkov ), Goebbels (H. Giza), Himmler (E. Tiede)) creators of the paintings was achieved almost one to one. There are some truly original approaches. For example, the initial frames when a variation on the theme of "holy war" on both sides from reaching titles we see footage of the Soviet and German newsreel of those years. Even the titles, when listing the roles starts (Hitler, Stalin ... ... Zhukov ... ... Manstein Skorzeny Mussolini ... ... Churchill Roosevelt) can not make the heart beat faster every one who is interested in the history of the last war, and history in general.
In general, the film for all his faults, I think, and directorial success Yu Ozerov (luchshim- along with the "final assault", the final part of the epic), and a bright page of Soviet cinema.
9 out of 10

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