The Ascent (15*) + Introduction by writer Vlad Strukov ... Larisa Shepitko’s film, an extraordinary depiction of the horrors of war, set in German-occupied Belorussia, begins as a fight for survival. It was while working that set that he was noticed by Larisa Shepitko's assistants. The Ascent (1977) Larisa Shepitko is a name very few are familiar with. By her own admission, for a period of four months the director was in "a monstrous mental and physical exhaustion." Speaking about the holy things, about categories of high spirituality, we were obligated to apply high standards to ourselves too. The Ascent is a 1977 Soviet film made by Ukrainian director Larisa Shepitko. "[6] After a few days The Ascent was formally accepted without any amendments. The Ascent was Shepitko’s final film. In her tragically short career, the Ukrainian-born auteur left behind only a handful of films—including the psychologically charged feminist character study WINGS and the shattering, spiritually transcendent World War II masterpiece THE ASCENT—but they rank among the … The two men and a sobbing Demchikha are taken to the German headquarters. The production designer Yuriy Raksha later spoke about the situation as follows: We started to work and began our unique existence along with the characters. Voskhozhdeniye, which won the Grand Prize at the Berlin Film Festival, is Larissa Shepitko's last complete work. Sounds perfect Wahhhh, I don’t wanna. [5] Officials met Schnittke's score with resistance and they ordered that the allusions to biblical texts be removed. Livraison gratuite dès 25 € d'achats. Ermash's replacement reacted skeptically to the pleas, and the subsequent process from script approval to acceptance of the film's actors was accompanied by considerable difficulties. [14], Vladimir Gostyukhin described the filming process not as acting but as "death in every frame." [12][13], The actor for the role of Portnov was selected based on the image of Sotnikov. Shepitko was not interested in battle sequences and displays of gallantry – which, in other films, often serve to glorify war and bypass its true costs – but rather in the extreme physical and psychological traumas endured by individuals in World War II. The award-winning young director of this unusual wartime drama died shortly after beginning work on her next film. Býkaŭ valued Larisa Shepitko very highly and once admitted that had he met her before, he would have written Sotnikov differently. Cut!" I went into my first viewing of The Ascent fairly uninformed about the story, only knowing of its reputation for being emotionally intense and widely admired due to its powerful imagery and raw naturalism. The Ascent is a tremendously significant film in the life of its director, who never had a chance to become tremendously significant herself. The Ascent (Russian: Восхождение, tr. Gostyukhin spoke of Shepitko's ability to convey an idea to the actors, akin to hypnosis, under which he with Plotnikov - the newcomers to the film studio - could produce the "miracle of transformation." Plotnikov, whose repertoire until then largely included the roles of magical animals,[13] even had to be made up for the purpose of greater glorification of the character so that the artistic council would approve him for the role. Her last film, The Ascent, is widely regarded as one of the finest Soviet films of the 1970s. It was Shepitko's last film before her death in a car accident in 1979. The film brought her international acclaim and she served as a member of the jury at … Klepikov, by his own admission, "could not withstand the energy of the typhoon whose name was Larisa," and started the task of revising the literary foundation which he later described as "a piping philosophical parable which combined the high spirit of man with his obvious desire to keep the body as a receptacle of the spirit. Tout sur Wings/the ascent 2008/st gb/b&w - DVD Zone 1 - Larisa Shepitko, DVD Zone 1 et toute l'actualité en Dvd et Blu-ray. Because of this, she rejected Andrey Myagkov, who wanted to act in the picture. This should be a very good actor. The movie was shot in January 1974 near Murom, Vladimir Oblast, Russia, in appalling winter conditions, as required by the script, based on the novel Sotnikov by Vasil Bykaŭ. Shepitko's use of religious symbolism and iconography is, in my view, as interesting and powerful as her contemporary Tarkovsky. Ignoring advice to go to Moscow, she went on to shoot the picture from a stretcher on which she was brought from the infectious barracks. The film won the Golden Bear award at the 27th Berlin International Film Festival in 1977. Voskhozhdeniye, literally - The Ascension) is a 1977 black-and-white Soviet drama film directed by Larisa Shepitko and made at Mosfilm. Shepitko turned to Klepikov on the recommendation of her classmate Natalia Ryazantseva but he was already busy working on another script. 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. The Ascent, a 1977 Soviet film set in World War II; Kodiyettam (Ascent), 1977 Indian film written and directed by Adoor Gopalakrishnan Rybak stares out the open door and begins to laugh and weep. The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late Soviet cinema. Format: DVD. [5], Filming began on Jan. 6, 1974 – the birthday of the director Shepitko (according to other sources filming began on January 5[6]) - in the vicinity of the town of Murom. Made in 1966, the film might be read as a tribute to Russia's (also largely overlooked) female combatants in WW2. His performance was noticed by Svetlana Klimova, who was the second unit director for Vasiliy Ordynski. 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 … ... Larisa Shepitko . Long before, in 1963, a tradition was established between the future spouses that for a good idea they would receive ten roubles. Shepitko belonged to a gifted generation of Russian filmmakers like Andrej Tarkovsky, Elem Klimov and Kira Muratova. The actor chosen for the role was the unknown actor Vladimir Gostyukhin. The first scenes were shot on location in the middle of fields, forests and ravines despite the fact that the weather was forty degrees below zero. The Ascent, director Larisa Shepitko’s final film and said to be one of the finest war films ever made, is a bleak and harrowing masterpiece of genuine gut-wrenching power.It is a story of survival, sacrifice and betrayal that captures the fragility, ugliness and greatness of man. Film and TV. The Ascent . November 18 [2020] December 23 [2020] [Futuristika!] The first one I want to draw attention to is the Russian war film The Ascent of Larisa Shepitko from 1977. Later it became a kind of ritual, often preceding the next take on the film set. Larisa Shepitko’s final film—a shattering, intimate World War II drama, newly restored Now on Blu-ray The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema. [14], In order to achieve the desired performance from the actors, Shepitko sometimes talked for a long time with them out in the cold. Voskhozhdeniye, literally - The Ascension) is a 1977 black-and-white Soviet drama film directed by Larisa Shepitko and made at Mosfilm. As he heads back to the camp with his new comrades, Rybak is vilified by the villagers. [5] Together with this, the filming process was planned in such a way that the actors started with the easiest acting in the psychological sense, and scenes which allowed them to gradually sink into their characters. Nearly four and a half decades since its release, Larisa Shepitko’s 1977 film The Ascent remains a crowning achievement like no other.Shepitko additionally helmed the films Wings (1966), Beginnings of an Unknown Era (1967), In the 13th Hour of the Night (1969), and You and Me (1971), but the Soviet director’s career was tragically cut short in a fatal car accident in 1979. Initially, the actor did not even understand what was wanted of him despite the fact that he diligently played the "enemy," a "man with a bruised heart," or a "man without a future" as was required. On screen it was necessary to show the deadly fatigue of the flushed, panting people. The situation was also aggravated by the fact that she was pregnant, but she felt that during her pregnancy she came to understand the complexities of life more fully. To avoid hypocrisy in the scenes, the director ran alongside the actors while filming, experiencing their exhausted state with them. She also had to warm up Vladimir Gostyukhin who later wrote: "It was worth it “to die” in the scene to be able to feel her gratitude." 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. The Ascent. The Ascent (1977) Larisa Shepitko is a name very few are familiar with. directed by Larisa Shepitko Feature film. However, Rybak tells as much as he thinks the police already know, hoping to live so he can escape later. The same fate befell Nikolai Gubenko. Portnov offers him the job of policeman. Shepitko urged him to start work immediately and a single telephone conversation with her convinced him to drop everything he was doing. But he felt that the character would turn out to be little but a caricature, as in cheap popular literature. Source: 365filmsbyauroranocte. [12], From the beginning of the search for the actor who would play Sotnikov, Larisa Shepitko instructed Emma Baskakova, her casting assistant, to keep in mind the image of Christ, although it was impossible to mention this out loud. Larisa Shepitko’s final film is a masterly war movie following two very different soldiers during the Great Patriotic War. Find trailers, reviews, synopsis, awards and cast information for The Ascent (1976) - Larisa Shepitko on AllMovie - The award-winning young director of this unusual… [5] Boris Plotnikov, a 25-year-old actor of the Sverdlovsk Theater, turned out to be the best candidate for the role according to the director, but the officials of Goskino saw in Shepitko's plan the intention to put Jesus on to the Soviet screen. Directed by Larisa Shepitko • 1977 • Soviet Union 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. Plotnikov had immediately attracted the director with his constitution, smile, look and plasticity while Gostyukhin's appearance did not coincide with how Shepitko saw Rybak: the young actor came to his audition with "frivolous" bangs which were uncharacteristic for a partisan. For example, despite the crew's full readiness, the director would talk for a long time with Boris Plotnikov, whose character she carefully directed during the filming. Larisa Shepitko and The Ascent Larisa Shepitko was born in 1938 and died in 1979, in an automobile accident while returning from a film shoot.2 She entered the All-Union Film Institute in Moscow at age sixteen, insistent on studying to be a director despite pressure … celestial. Shepitko brings to light the inner life of a middle-aged woman who must reconcile her past with her present reality. The policeman tells him that their commander wants him and leaves him alone in the courtyard. At the end of the film, Masherov - contrary to tradition (usually at such premieres opinions were heard first from the lower ranks and then from the highest) - came on stage and spoke for about forty minutes. She has so internalized the military ideas of service and obedience that she cannot adjust to life during peacetime. With stark, visceral cinematography that pits blinding white snow against pitch-black despair, The Ascent finds poetry and transcendence in the harrowing trials of war. There are better films than "The Ascent", but hardly any others which hit their chosen marks as concisely as Shepitko's masterpiece. If I had not shot this picture it would have been a catastrophe for me. Despite the fact that the film was one of the prize winners at the Venice Film Festival, the removed scenes were a terrible blow to Shepitko, who believed that changing an important moment leads to the loss of main ideas. "[6], Shepitko's husband Elem Klimov suggested the film's title. Features Realizing what he has done, he tries to hang himself in the outhouse with his belt, but fails. [6] She waited for the necessary expression of emotion, for the right facial expression and gestures and then suddenly would give the order to start filming. Zola Jesus, née Nika Roza Danilova, is an internationally celebrated crafter of haunting electronic pop. The award-winning young director of this unusual wartime drama died shortly after beginning work on her next film. Larisa Shepitko’s “The Ascent”: An Archaic Iconography. The actor went through seven test shots altogether for which he always had to fly to Moscow from Sverdlovsk. But Shepitko still rose two to three hours before the crew to have time to prepare, after which she worked to the maximum limit of her strength throughout the day. During the Great Patriotic War (World War II), two Soviet partisans go to a Belarusian village in search of food. Sadly, she died at the age of 41 in a car accident and her films are little known. Sotnikov and the others are executed. — The Ascent (Larisa Shepitko, 1977) 1.5M ratings 277k ratings See, that’s what the app is perfect for. According to her, Judas and Jesus had always existed and that if the legend connected with people then this means that it was alive in every person. Long before The Ascent, Shepitko became ill with hepatitis on the set of the movie Heat. The digital image and sound restoration was by Mosfilm Cinema Concern in 2018. Pre-Order: The Ascent (Blu-ray) The crowning triumph of a career cut tragically short, the final film from Larisa Shepitko (Wings) won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema.. Directed by Larisa Shepitko, "The Ascent" is a harrowing war movie whose chain of events deliberately builds to a powerful finale. The still somewhat wet film was brought to Minsk directly from the lab, and Larisa Shepitko herself sat at the mixing console . Every frame, every remark, every scene was carefully checked and planned in advance. Religion, Politics, and Literature in Larisa Shepit’ko’s The Ascent Jason Merrill Michigan State University Scholars have noted Larisa Shepit’ko’s extensive use of Christian motifs in her film The ... ‘Larissa Shepitko: Her Life and Films’, Cinema India-International, 7.2 (1990), 13–16 (p. 15). He said that almost no one knew what effort Shepitko gave when shooting each frame. The Ascent (bahasa Rusia: Восхождение, tr. She expresses this by contrasting her character's r… The chances were very high that the film would be shelved, until Elem Klimov (the husband of Larisa Shepitko and also a film director by profession) decided to take a desperate step. Production took place under an atmosphere of severe stress. The Ascent The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema. [1] It was Shepitko's last film before her death in a car accident in 1979. The career of Larisa Shepitko, an icon of sixties and seventies Soviet cinema, was tragically cut short when she was killed in a car crash at age forty, just as she was emerging on the international scene. Firsova was an administrator of an association of military-patriotic films. Her husband, Elem Klimov, finished the film for her in 1984 under the abbreviated title Farewell. But after a 20-minute conversation with the director, he was convinced that only she could film the adaptation of this weighty book. by . Larisa Shepitko’s “The Ascent”: An Archaic Iconography. The Belarusian writer and veteran of the Great Patriotic War, Ales Adamovich, who was present at the screening, described Masherov as someone who questioned, "Where did this girl come from, who of course experienced nothing of the sort, but knows all about it, how could she express it like this? [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. Vladimir Vysotsky, who yearned to play Rybakov, also did not pass selection. [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. [14], For the role of Rybak the director screened 20 candidates. The Ascent 1977 ★★★ Larisa Shepitko’s “The Ascent,” intentionally or not, is an anti-Hollywood movie, much as say Tarkovsky’s “Solaris” is just that. The Ascent (1976), about two partisans trying to survive during the 1942 Nazi occupation, is considered her masterpiece and was inspired by Shepitko’s own brush with death while pregnant. the director came over to him to warm him up and to thank him. Eclipse Series 11: Larisa Shepitko (Wings / The Ascent) (The Criterion Collection) Maya Bulgakova (Actor), Boris Plotnikov (Actor), Larisa Shepitko (Director) & Rated: Unrated. [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]. We had a lot of fun producing this episode, and we hope you guys dug it. Despite her short career, she however managed to create some of the best Soviet films of her time. By 1979, when she was tragically killed…, and two films that capture the “twilit feeling of childhood.”, New 4K digital restoration, with uncompressed monaural soundtrack on the Blu-ray, New selected-scene commentary featuring film scholar Daniel Bird, New video introduction by Anton Klimov, son of director Larisa Shepitko and filmmaker Elem Klimov, New interview with actor Lyudmila Polyakova, Two documentaries from 2012 about Shepitko’s life, work, and relationship with Klimov, Program from 1999 featuring an interview with Shepitko. When they just started dating, Klimov came up with the name for Shepitko's thesis film – Heat. Having graduated from the Moscow Film School in 1963, Shepitko had produced three features and a segment for an omnibus feature by the time she gave birth, at the age of 35. Even so, Shepitko initially had doubts about the candidate, who even with his actor's training, was still only a stage laborer. He dies and rises above his tormentor. [6][6], When adapting the script from Sotnikov the main concern of the director was not to lose the deeper philosophical content of the story. Dying, suffering Sotnikov wins because he is strong in spirit. [11], Shepitko decided to use unknown or little-known actors whose past roles would not cast a shadow on their characters in The Ascent. By that time Shepitko had already gained a reputation of an inconvenient director. "[9], For help in overcoming the resistance of the authorities and the State Political Directorate, Shepitko turned to Gemma Firsova with whom she had studied at VGIK. Directed by Larisa Shepitko • 1977 • Soviet Union 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. It was on my radar due to seeing it well placed in several critics lists of great films, and the synopsis sounded like it would be something up my alley. ", 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. Theoretically, the film could portray the absence of the belt, but then - according to the writers - the scene would be limited to the designation of the circumstances: informative but unimpressive denial in terms of the artistic sense. Production of that film took place at the Mosfilm sound stage, adjacent to where the auditions were being held, and during his breaks Vysotsky often went to see what was happening at Shepitko's sound stage. [14] This approach was endorsed by Larisa Shepitko, according to whom the actors had to "feel the winter all the way down to their very cells" for a more reliable way of entering the character. Gostyukhin was invited to audition for the role of Rybak, but initially could not equate "a woman of great beauty [Sheptiko] with the super-masculine, tough and tragic story by Vasil Býkaŭ." Ukrainian-born Soviet director Larisa Shepitko’s fifth and final film, The Ascent, is a war narrative unlike any other. Shepitko and Klimov decided to continue this playful approach of rewarding each other but after all the years of their union Klimov alone received the ten rouble reward and only twice: for Heat and for The Ascent. She died in a car crash while scouting locations for what was to be her next film, Farewell to Matyora. The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema. • Wings (1966), Krylya – Shepitko's first post-institute film Wingsconcerns a much-decorated female fighter pilot of World War II. "[6] The result of the work became a 70-page script that Shepitko then meticulously edited. Boris Plotnikov later said that he would have liked to repeat this experience in other films, but never did. The release on DVD of these two films from Larisa Shepitko allows us a chance-finally-to see two masterpieces from a director who, sadly since her death in 1979, has been all but forgotten. Her bright career as a director only lasted a single decade, ended abruptly by a tragic car accident. Ascent, an independent, not-for-profit magazine; Ascent, a literary journal based at Concordia College; Ascent, by Jed Mercurio; Times Ascent, a weekly supplement of The Times of India newspaper; Film and TV. This film was internationally a sensation when it was released, winning the Golden Bear at the Berlin Festival 1977. 296 notes. The Ascent thus plays on the ironic inversion of the socialist realist typology of heroes of the Great Patriotic War. In the darkest days of World War II, two partisans set out for supplies to sustain their beleaguered outfit, braving the blizzard-swept landscape of Nazi-occupied Belarus. When Sotnikov refuses to answer Portnov's questions, he is brutally tortured by members of the collaborationist police, but gives up no information. Rybak (Vladimir Gostyukhin) has to take him to the nearest shelter, the home of Demchikha (Lyudmila Polyakova), the mother of three young children. According to Yuri Klepikov even "the fruitful spontaneity was due to the very environment of the shoot," which was ensured by the carefully crafted script. The breathless immediacy of Voskhozhdeniye (The Ascent, Larisa Shepitko, 1977), adapted from a novella by Vasily Bykov about two Belarusian partisans during World War II, combines with a profound understanding of human vulnerability to make the film, Shepitko’s last, a masterpiece of war cinema.. The Ascent, director Larisa Shepitko’s final film and said to be one of the finest war films ever made, is a bleak and harrowing masterpiece of genuine gut-wrenching power.It is a story of survival, sacrifice and betrayal that captures the fragility, ugliness and greatness of man. This struggle was not always successful. The movie was shot in January 1974 near Murom, Vladimir Oblast, Russia, in appalling winter conditions, as required by the script, based on the novel Sotnikov by Vasil Bykaŭ. Larisa Shepitko’s final film—a shattering, intimate World War II drama, newly restored Now on Blu-ray The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema. Posts; Ask me anything; Archive; s-shalhoub. The Ascent. She died in 1979 in a car crash at the age of 41. In addition she experienced extreme pain which was caused by her recent spinal trauma. The Ascent (Russian: Восхождение, tr. The main accusation was that Shepitko allegedly made a religious parable with a mystical tone from the partisan story; this was considered an insurrection in the atheistic Soviet cinema. There is a new 17-minute video introduction by journalist Anton Klimov, son of director Larisa Shepitko and filmmaker Elem Klimov recorded for the Criterion Collection in September 2020, Klimov talks about the singular vision of his mother, director Larisa Shepitko, for The Ascent, and the devotion to her work of his father, filmmaker Elem Klimov. We spread the word about Larisa Shepitko, one of the true visionaries of Soviet cinema, when we released two of her incredible films in 2008, but she remains an under-the-radar figure for most movie lovers. The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late Soviet cinema. [11] Gostyukhin recalled that he transformed into Rybak to such a degree that even the made-up bruise only fell from his face after three weeks. As the reviewer above notes, the Ascent deserves to be remembered among the very best films to … The Ascent (1977) and Larisa Shepitko Going in, I knew very little about this one. 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. The next morning, all are led out to be hanged. It was also sele… During the war, the senior official was himself a partisan and moreover in 1942 the German occupiers hanged his mother for collaborating with the partisans. Shepitko herself did not ask for or require special treatment and her colleagues remembered her as an example of courage, faith, patience, and extraordinary care. View a still from the film →→ Larisa Shepitko's fourth and final film, 1977's The Ascent (Voskhozhdeniye), is a bleak trek across the frozen Byelorussian landscape during WWII.Set in the small Eastern European country just north of the Ukraine, it details the ravages its people suffered under the German invasion and their perseverance in the face of crisis and tragedy. [5] Throughout her directing career, Shepitko only started working on a film if she felt that "if she does not do it, then she dies. [11] With this dedication the shooting took place without interruption and was completed one month ahead of schedule. Larisa Shepitko was glamorous and gifted, and in her heyday she had the movie world at her feet. ", In the harsh conditions in which the shoot took place, this factor was very important: extras and crew members were frostbitten, but no one complained. [15] Moreover, Shepitko did not recuperate enough, and the consequences of the disease adversely affected her well-being in the future, in particular on the set of The Ascent. Having graduated from the Moscow Film School in 1963, Shepitko had produced three features and a segment for an … The director of Martin Eden chooses a selection of films dear to his heart, including classics that made a deep impression on him in childhood. During the first rehearsal Shepitko even sprayed their faces with snow. Sometimes Gostyukhin had to carry the director from the car to the hotel room by himself: Shepitko was sometimes not very well and occasionally her strength weakened. For example, in one long scene, the partisans are running away with difficulty through the thick snow from their pursuers. Gostyukhin received an invitation to act in the series The Road to Calvary, where he played the role of the anarchist and bandit Krasilnikov for whom charisma and a strong temperament were required. James Schamus is the former CEO of Focus Features; the producer of, among other films, Ride with the Devil (1999) and Brokeback Mountain (2005); the screenwriter and producer of The Ice Storm (1997); and a professor of professional practice at Columb. Her ability to enthrall her colleagues had already manifested before: Yuri Vizbor (lead actor in the movie You and I) said: "We worked for Larisa, specifically, personally for her. It was while working that set that he would have been a catastrophe for me Archive... The knowledge of his fall perfect for ’ t wan na in 1984 under the abbreviated title Farewell a! Nika Roza Danilova, is an internationally celebrated crafter of haunting electronic pop as director... 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Officials met Schnittke 's score with resistance and they ordered that the allusions to larisa shepitko the ascent texts removed... 1980 ) Shepitko then meticulously edited dating, Klimov came up with the director did pass. Of service and obedience that she was not religious and that a about! He said that almost no one knew what effort Shepitko gave when each. One knew what effort Shepitko gave when shooting each frame. ( also largely overlooked ) combatants. In the life of its director, he was already busy working on another script the State Committee Cinematography... Female fighter pilot of World War II over to him to start work immediately a... 12 ] [ Futuristika! they just started dating, Klimov came with. The meaning of life filmmakers like Andrej Tarkovsky, Elem Klimov, finished the film set meticulously.. Býkaŭ had set out in his story for food, while dodging enemy fire in the life a. Result of the 1970s on working with Shepitko, 1977 ) 1.5M ratings 277k ratings,. 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