This is very early established after he instinctively draws his rifle to shoot himself when he sees himself getting caught by the German soldiers. 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. The Ascent (Russian: Восхождение, tr. Directed by Larisa Shepitko • 1977 • Soviet Union. The Ascent

Voskhozhdeniye, literally - The Ascension) is a 1977 black-and-white Soviet drama film directed by Larisa Shepitko and made at Mosfilm.

Boris Plotnikov Vladimir Gostyukhin Lyudmila Polyakova Viktoriya Goldentul Mariya Vinogradova Nikolai Sektimenko Anatoliy Solonitsyn Aleksandra Kharitonova Sergei Kanishchev, Larisa Shepitko Vasili Bykov Yuri Klepikov, Voskhozhdeniye, Voskhojdenie, De Opgang, Ascensione, 111 mins   When Rybak and Sotnikov find shelter with Demchika (Lyudmila Polyakova), a young mother living with her three children, they are discovered by a German patrol who take them away to their headquarters in another village, leaving the small children behind with almost no hope of survival. The Ascent is an incredibly powerful film that shows how the human spirit and human will is crushed underneath the worst conditions. juliodogpit 1,001 films 10,914 479 Edit, UPDATE--------------------------------------------------------------------------, Check out also: The 100 Greatest Documentaries, ranked as objectively as possible The 100 Greatest Directors The 100 Greatest…, Letterboxd's Top 250 movies, based on the average weighted rating of all Letterboxd users. I thought this was so innovative and striking... really a phenomenal film and certainly one of the best I've ever seen. Throughout the film, Christian visual symbols and religious gestures are evoked, but most attention is paid to the transformation of Sotnikov, whose expression and demeanour change radically, along with the increasingly dramatic lighting and framing of his figure, lending him a nearly divine aura. 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. The stark, black and white cinematography and unsettling aural element form a stunningly bleak aesthetics.
I'll always love war films that don't glamorize the unglamorous, as war is not something that should feel appealing in any sense of the word. That personal aspect only makes how tragic this film is worse.

Shepitko demonstrates a great ability to keep the suspense flowing, delivering many powerful and moving moments throughout the film. The Ascent (Russian: Восхождение, tr. var zergnet = document.createElement('script');

Sotnikov in particular is a spectacular perfomance, his thousand-yard stare and body language tell more than any exposition could. The performances. Pessimistic worldviews.

The performances.

Commander, Red Army.

Where it leaves the characters was the absolutely worst thing that could have happened to my sleep. This was not possible without the…. The Ascent, ascent, 1977, Larisa Shepitko, 1080p, hd, english, russian full 1080p hd transfer of the ascent from 1977. At least, that is what I thought for the first 30 minutes.

[5] Officials met Schnittke's score with resistance and they ordered that the allusions to biblical texts be removed.

Moreover, Shepitko deftly uses the space and aesthetics to create claustrophobia. This is, of course, not official,…, maybe the most devastatingly beautiful film I've ever seen, Review by Naughty aka Juli Norwood ★★★★ 6. 'The Ascent' (1977) is a multifaceted character study of individuals caught in the middle of war & the war, from within and outward,set during World War II. While one has strong…. He said that almost no one knew what effort Shepitko gave when shooting each frame. So much regret.

Add the first question. Set during World War II, shot on grainy black and white stock, the film looks like a product of its setting than the time itself, and that factor renders even more believability to the grim events unfolding in it. His words were not recorded by anyone but Elem Klimov testified that his excited speech was one of the best he ever heard addressed to his wife. More details at

Report this film. This is one of the best WWII movies out there. [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. 1,502 films 6,926 124 Edit. 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. This film is the bible. For him and Plotnikov it was extremely important to validate the director's trust, since she had needed to defend their casting choices long and hard in front of the Soviet film authorities. Set during World War II’s darkest days, Larisa Shepitko’s The Ascent follows the path of two peasant soldiers, cut off from their troop, who trudge through the snowy backwoods of Belarus seeking refuge among villagers. The opening five minutes has it all... exposition, beautiful reveals, dramatic framing and cutting and an opening title sequence that plays over a gun fight. In a freezing cold World War II winter, two pro-Soviet partisans - Sotnikov and Rybak - head off to find food for themselves and their compatriots. It was impossible to be one person on the set and to be another one in real life. This was not possible without the….

While Rybak (Vladimir Gostyukhin), a former schoolteacher turned soldier, is an antichrist figure.

Discussions of her “masculinity” or “femininity” frequently appear in her interviews and accounts of her colleagues, as well as in criticism about her work. Every single member of the cast is excellent but there two that I really want to make note of.First, Boris Plotnikov gives you what I call a physical performance. This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. This sadly proved to be the final film from director Larisa Shepitko and based on a Vasil Bykaŭ’s novel entitled Sotniko, initially published in nineteen seventy. Larisa Shepitko's depiction of humanity in the grip of war left me shaken, a shell of my former self! Good lord. It contains a carefully considered sound design that heightens laborious breathing of soldiers and amplifies the intense crunching noise of snow underfoot and paints a picture of extraordinary miserableness. Summaries Two Soviet partisans on a mission to gather food contend with the winter cold, the occupying Germans, and their own psyches. Paradoxically, it is Rybak, the stronger and more experienced soldier, who immediately answers all questions in order to save his life, ultimately becoming a police officer in the service of the Nazis. It’s the last film of Larisa Shepitko, one of the most significant Russian filmmakers and largely unheralded in world cinema, who perished in an accident. Review by nathaxnne (hiatus due to injury) ★★★★ 1. Boris Plotnikov later said that he would have liked to repeat this experience in other films, but never did. Slow burn no doubt, but the pacing makes it all the more powerful. In order to express the spiritual states she often had to deviate from the literary basis. 1,502 films 6,925 124 Edit. As the narrative unfolds, complex moral and existential dilemmas arise. Choose an adventure below and discover your next favorite movie or TV show. Shepitko is masterful.

By that time Shepitko had already gained a reputation of an inconvenient director. She was affected much more by the script than by the novel and the day she met Shepitko, she went to the meet the Minister of Cinematography Philippe Ermash. For a few weeks Shepitko was confined to bed.
By her own admission, for a period of four months the director was in "a monstrous mental and physical exhaustion." Shepitko's emotionally overwhelming final film won the Golden Bear at the 1977 Berlin Film Festival and has been hailed around the world as the finest Soviet film of its decade.

"[6] After a few days The Ascent was formally accepted without any amendments. Set in the bleakest, wintriest landscape you'll ever see on film, The Ascent is full of panic and existential dread evoked by the impending doom, like adrenaline interjecting, adding pressurized gas to the inferno. "https:" : "http:") + '//www.zergnet.com/zerg.js?id=82730'; It was while working that set that he was noticed by Larisa Shepitko's assistants. [8] Shepitko retorted that she was not religious and that a story about betrayal was antediluvian. At the start of the war, I commanded a battery.It’s a shame I didn’t kill more of you bastards.

For example, after Sotnikov has been shot in the leg by a Nazi patrol and attempts to commit suicide in order to avoid capture, Rybak courageously drags his body into hiding through the heavy snow.

Let Us Take Care Of Your Cinematic Ecstasy Home Aesthetically, it is very impressive with a gorgeous and grand cinematography. Sotnikov is interrogated first by local collaborator Portnov (Anatoli Solonitsyn), a former Soviet club-house director and children's choirmaster who became the local head of the Belarusian Auxiliary Police, loyal to the Germans.

Larisa Shepitko's final movie.


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