Come and See

Come and See (Russian: Иди и смотри, Idi i smotri; Belarusian: Ідзі і глядзі,
Come and See
Idzi i hlyadzi) is a 1985 Soviet war drama thriller film directed by Elem Klimov,
with a screenplay written by Klimov and Ales Adamovich based on the 1978
book I Am from the Fiery Village[3] (original title: Я из огненной деревни,[4] Ya
iz ognennoj Derevni, 1977) by Adamovich et al..[5] The film stars Aleksei
Kravchenko and Olga Mironova.[6] Come and See appears on many lists of films
considered the best, and has been ranked by many as one of the greatest war
films of all time.

The film focuses upon the Nazi German occupation of Belarus, and primarily
upon the events witnessed by a young Belarusian partisan teenager named
Flyora, who—against his parents' wishes—joins the Belarusian resistance
movement, and thereafter depicts the Nazi atrocities and human suffering
inflicted upon the populace.

Come and See had to wait eight years for approval from Soviet authorities before
the film was finally produced to commemorate the 40th anniversary of the
Soviet victory in World War II, and was a large box-office hit, with 28,900,000
admissions in the Soviet Union alone. The film was selected as the Soviet entry
for the Best Foreign Language Film at the 58th Academy Awards, but was not Russian theatrical release poster
accepted as a nominee.[7] Directed by Elem Klimov
Screenplay by Elem Klimov
Ales Adamovich
Contents Based on I Am from the
Title Fiery Village
Plot by Ales
Cast Adamovich
Production Janka Bryl
Music Vladimir
Reception Kolesnik
Accolades
Starring Aleksei
See also Kravchenko
References
Olga Mironova
Further reading
Music by Oleg Yanchenko
External links
Cinematography Aleksei
Rodionov
Title Edited by Valeriya Belova

The original Belarusian title of the film derives from Chapter 6 of The Production Mosfilm
company
Apocalypse of John, where in the first, third, fifth, and seventh verse is written Belarusfilm
"ідзі і глядзі"[8] (English: "Come and see", Greek: Ἐρχου καὶ ἴδε, Erchou kai
ide)[9] as an invitation to look upon the destruction caused by the Four Distributed by Sovexportfilm
Horsemen of the Apocalypse.[10][11] Chapter 6, verses 7–8 have been cited as Release date July 1985
being particularly relevant to the film:
(Moscow)

And when he had opened the fourth seal, I heard the voice of the
Running time 142 minutes[1]
fourth beast say, Come and see! And I looked, and behold a pale Country Soviet Union[2]
horse: and his name that sat on him was Death, and Hell Language Belarusian
followed with him. And power was given unto them over the
Russian
fourth part of the earth, to kill with sword, and with hunger, and
German
with death, and with the beasts of the earth.

Plot
In 1943, two Byelorussian boys dig in a sand-filled trench looking for
abandoned rifles in order to join the Soviet partisan forces. Their village elder
warns them not to dig up the weapons as it will arouse the suspicions of the
Germans. One of the boys, Flyora, finds an SVT-40 rifle, though the both of
them are seen by an Fw 189 flying overhead. The next day, partisans arrive at
Flyora's house to conscript him. Flyora becomes a low-rank militiaman and is
ordered to perform menial tasks. When the partisans are ready to move on, an
old partisan says that he wants to stay behind because his boots are falling apart. A Focke-Wulf Fw 189, the aircraft
The partisan commander, Kosach, orders the old man to swap boots with Flyora that Klimov makes fly high above the
protagonists' head
and for Flyora to remain behind at the camp. Bitterly disappointed, Flyora walks
into the forest weeping and meets Glasha, a young girl working as a nurse in the
camp, and the two bond before the camp is suddenly attacked by German paratroopers and dive bombers. Flyora is partially
deafened from explosions before the two hide in the forest to avoid the German soldiers. Flyora and Glasha travel to his village,
only to find his home deserted and covered in flies. Denying that his family is dead, Flyora believes that they are hiding on a
nearby island across a bog. As they run from the village in the direction of the bogland, Glasha glances across her shoulder,
seeing a pile of executed villagers' bodies stacked behind a house, but does not alert Flyora. The two become hysterical after
wading through the bog, where Glasha then screams at Flyora that his family are actually dead in the village. They are soon met
by Roubej, a partisan fighter, who takes them to a large group of villagers who have fled the Germans. Flyora sees the village
elder, badly burnt by the Germans, who tells him that he witnessed his family's execution and that he should not have dug up the
rifles. Flyora accepts that his family is dead and blames himself for the tragedy.

Roubej takes Flyora and two other men to find food at a nearby warehouse, only to find it being guarded by German troops.
During their retreat, the group unknowingly wanders through a minefield resulting in the deaths of the two companions. That
evening Roubej and Flyora sneak up to an occupied village and manage to steal a cow from a collaborating farmer. However, as
they escape across an open field, Roubej and the cow are shot and killed by a German machine gun. The next morning, Flyora
attempts to steal a horse and cart but the owner catches him and instead of doing him harm, he helps hide Flyora's identity when
SS troops approach. Flyora is taken to the village of Perekhody, where they hurriedly discuss a fake identity for him, while the SS
unit (based on the Dirlewanger Brigade) accompanied by Ukrainian collaborators surround and occupy the village. Flyora tries to
warn the townsfolk they are being herded to their deaths, but is forced to join them inside a church. Flyora and a young woman
bearing a strong resemblance to Glasha manage to escape; the young woman is dragged by her hair across the ground and into a
truck to be gang raped, while Flyora is forced to watch as grenades are thrown into the church before it is set ablaze and shot. A
German officer points a gun to Flyora's head to pose for a picture before leaving him to slump to the ground as the soldiers leave.

We are obliged to
 “ ”
Flyora later wanders out of the scorched village in the direction of the Germans, exterminate the
where he discovers they had been ambushed by the partisans. After recovering his population - this is
jacket and rifle, Flyora comes across the young woman who had also escaped the
part of our mission
to protect the
church in a fugue state and covered in blood after having been gang-raped and
German population.
brutalized. Flyora returns to the village and finds that his fellow partisans have I have the right to
captured eleven of the Germans and their collaborators, including the commander, destroy millions of
an SS-Sturmbannführer. While some of the captured men including the people of a lower
commander plead for their lives and deflect blame, a young fanatical officer race who breed like
bluntly tells the captors that their people have no right to exist and they will carry
worms.
out their mission. Kosach then forces most of the collaborators to douse the — Adolf Hitler, 1941[12]
Germans with a can of petrol but the disgusted crowd shoots them all before they
can be set on fire. As the partisans leave, Flyora notices a framed portrait of Adolf Hitler
in a puddle and proceeds to shoot it numerous times. As he does so, a montage of clips
from Hitler's life play in reverse, but when Hitler is shown as a baby on his mother's lap,
Flyora stops shooting and cries.

In the film's final scene, a partisan officer calls out to a low-ranking recruit. Flyora turns,
but an obedient youth rushes past him, and Flyora realizes he is now a full partisan. He
then catches up and blends in with his partisan comrades marching through the woods as
snow blankets the ground. As they disappear into the birch forest, a title informs: "628
Belorussian villages were destroyed, along with all their inhabitants."[13]

Cast
Aleksey Kravchenko as Flyora The image of Hitler shown in
Olga Mironova as Glasha/Glafira the film as a baby sitting on
Liubomiras Laucevičius as Kosach the maternal knees has no
historical foundation. It is a
Valeriy Kravchenko as Kosach's dubbing photomontage devised by
Vladas Bagdonas as Roubej Klimov between this picture
Jüri Lumiste as young German officer of infant Hitler and that of his
Evgeniy Tilicheev as Ukranian collaborator and translator mother
Viktor Lorents as the German commander

Production
Klimov co-wrote the screenplay with Ales Adamovich, who fought with the Belarusian partisans as a teenager. According to the
director's recollections, work on the film began in 1977:

The 40th anniversary of the Great Victory was approaching.[3][14][15] The management had to be given
something topical. I had been reading and rereading the book I Am from the Fiery Village, which consisted of the
first-hand accounts of people who miraculously survived the horrors of the fascist genocide in Belorussia. Many
of them were still alive then, and Belorussians managed to record some of their memories onto film. I will never
forget the face and eyes of one peasant, and his quiet recollection about how his whole village had been herded
into a church, and how just before they were about to be burned, an officer gave them the offer: "Whoever has no
children can leave". And he couldn't take it, he left, and left behind his wife and little kids...or about how another
village was burned: the adults were all herded into a barn, but the children were left behind. And later, the drunk
men surrounded them with sheepdogs and let the dogs tear the children to pieces.
 And then I thought: the world doesn't know about Khatyn! They know about Katyn, about the massacre of the
Polish officers there. But they don't know about Belorussia. Even though more than 600 villages were burned
there!

And I decided to make a film about this tragedy. I perfectly understood that the film would end up a harsh one. I
decided that the central role of the village lad Flyora would not be played by a professional actor, who upon
immersion into a difficult role could have protected himself psychologically with his accumulated acting
experience, technique and skill. I wanted to find a simple boy fourteen years of age. We had to prepare him for the
most difficult experiences, then capture them on film. And at the same time, we had to protect him from the
stresses so that he wasn't left in the loony bin after filming was over, but was returned to his mother alive and
healthy. Fortunately, with Aleksey Kravchenko, who played Flyora and who later became a good actor,
everything went smoothly.

I understood that this would be a very brutal film and that it was unlikely that people would be able to watch it. I
told this to my screenplay coauthor, the writer Ales Adamovich. But he replied: "Let them not watch it, then. This
is something we must leave after us. As evidence of war, and as a plea for peace."

— Elem Klimov

Come and See was shot only on Belarusian soil. The events with the people, the peasants, actually happened as
shown in the film. [It] doesn't have any professional actors. Even the language spoken in the film is Belarusian.
What was important was that all the events depicted in the film really did happen in Belarus.[17]

For eight years,[14] filming could not begin because the State Committee for Cinematography (Goskino) would not accept the
screenplay, considering it propaganda for the "aesthetics of dirtiness" and "naturalism".[16] Eventually in 1984, Klimov was able
to start filming without having compromised to any censorship at all. The only change became the name of the film itself, which
was changed to Come and See from the original title, Kill Hitler[18] (Elem Klimov also says this in the 2006 UK DVD
release).[19]

The film was shot in chronological order over a period of nine months.[18] Aleksey Kravchenko said that he underwent "the most
debilitating fatigue and hunger. I kept a most severe diet, and after the filming was over I returned to school not only thin, but
grey-haired."[20][18] To prepare the 13-year-old Kravchenko for the role, Klimov called a hypnotist. "I realized I had to inject him
with content which he did not possess, Mr. Klimov said. This is an age when a boy does not know what true hatred is, what true
love is. In the end, Mr. Kravchenko was able to concentrate so intensely that it seemed as if he had hypnotized himself for the
role."[21][18]

To create the maximum sense of immediacy, realism, hyperrealism, and surrealism operate in equal measure.[22] Klimov and his
cameraman Rodionov employed naturalistic colours, widescreen and lots of Steadicam shots; the film is full of extreme close-ups
of faces, does not flinch from the unpleasant details of burnt flesh and bloodied corpses, and the guns were often loaded with live
ammunition as opposed to blanks.[3][18][23][24] Aleksey Kravchenko mentioned in interviews that bullets sometimes passed just 4
inches (10 centimeters) above his head[18] (such as in the cow scene).[3] At the same time "the mise-en-scène is fragmentary and
disjointed: there are discontinuities between shots as characters appear in close up and then disappear off camera." "Klimov
employs a range of techniques that draws attention to the camera. The extreme close-ups of actors staring into camera is a
recurring motif." "Elsewhere,...the moment of revelation is marked by a disorienting zoom-in /dolly-out shot".[3]

The film was released on 17 October 1985,[6] drawing 28.9 million viewers[18][25] and ranking sixth at the box office of 1986.[25]

Music
The original soundtrack is rhythmically amorphous music composed by Oleg Yanchenko. At a few key points in the film classical
music from mainly German or Austrian composers are used, such as Johann Strauss Jr.'s Blue Danube, sometimes mixed in with
Yanchenko's music. The Soviet marching song The Sacred War, Russian folk song Korobeiniki and German folk song Im Wald im
grünen Walde are played in the movie once. During the scene where Glasha dances, the background music is taken from Grigori
Aleksandrov's 1936 film Circus. At the end, during the montage, music by Richard Wagner is used, most notably the Tannhäuser
Overture and the Ride from Die Walküre. At the conclusion of the film the Lacrimosa from Mozart's Requiem is played.

Reception
Initial reception was positive. Walter Goodman wrote for The New York Times that "The history is harrowing and the presentation
is graphic...Powerful material, powerfully rendered...", and dismissed the ending as "a dose of instant inspirationalism," but
conceded to Klimov's "unquestionable talent."[26] Rita Kempley, of the Washington Post, wrote that "directing with an angry
eloquence, [Klimov] taps into that hallucinatory nether world of blood and mud and escalating madness that Francis Ford
Coppola found in Apocalypse Now. And though he draws a surprisingly vivid performance from his inexperienced teen lead,
Klimov's prowess is his visual poetry, muscular and animistic, like compatriot Andrei Konchalovsky's in his epic Siberiade."[27]
Mark Le Fanu wrote in Sight & Sound 03/01/1987 that Come and See is a "powerful war film...The director has elicited an
excellent performance from his central actor Kravchenko." According to Klimov, the film was so shocking for audiences,
however, that ambulances were sometimes called in to take away particularly impressionable viewers, both in the Soviet Union
and abroad.[14][19]

The film has since been widely acclaimed in the 21st century. In 2001 Daneet Steffens of Entertainment Weekly wrote that
"Klimov alternates the horrors of war with occasional fairy tale-like images; together they imbue the film with an
unapologetically disturbing quality that persists long after the credits roll."[28]

In 2001, J. Hoberman of The Village Voice reviewed Come and See, writing the following: "Directed for baroque intensity, Come
and See is a robust art film with aspirations to the visionary – not so much graphic as leisurely literal-minded in its representation
of mass murder. (The movie has been compared both to Schindler's List and Saving Private Ryan, and it would not be surprising
to learn that Steven Spielberg had screened it before making either of these.) The film's central atrocity is a barbaric circus of
blaring music and barking dogs in which a squadron of drunken German soldiers round up and parade the peasants to their fiery
doom... The bit of actual death-camp corpse footage that Klimov uses is doubly disturbing in that it retrospectively diminishes the
care with which he orchestrates the town's destruction. For the most part, he prefers to show the Gorgon as reflected in Perseus's
shield. There are few images more indelible than the sight of young Alexei Kravchenko's fear-petrified expression."[29] In the
same publication in 2009, Elliott Stein described Come and See as "a startling mixture of lyrical poeticism and expressionist
nightmare."[30]

In 2002, Scott Tobias of The A.V. Club wrote that Klimov's "impressions are unforgettable: the screaming cacophony of a
bombing run broken up by the faint sound of a Mozart fugue, a dark, arid field suddenly lit up by eerily beautiful orange flares,
German troops appearing like ghosts out of the heavy morning fog. A product of the glasnost era, Come and See is far from a
patriotic memorial of Russia's hard-won victory. Instead, it's a chilling reminder of that victory's terrible costs."[31] British
magazine The Word wrote that "Come and See is widely regarded as the finest war film ever made, though possibly not by Great
Escape fans."[32] Tim Lott wrote in 2009 that the film "makes Apocalypse Now look lightweight".[33] In 2006, Geoffrey Macnab
of Sight & Sound opined, "Klimov's astonishing war movie combines intense lyricism with the kind of violent bloodletting that
would make even Sam Peckinpah pause."[3]

On 16 June 2010, Roger Ebert posted a review of Come and See as part of his "Great Movies" series, describing it as "one of the
most devastating films ever about anything, and in it, the survivors must envy the dead... The film depicts brutality and is
occasionally very realistic, but there's an overlay of muted nightmarish exaggeration... I must not describe the famous sequence at
the end. It must unfold as a surprise for you. It pretends to roll back history. You will see how. It is unutterably depressing,
because history can never undo itself, and is with us forever."[34]
Come and See appears on many lists of films considered the best. In 2008, Come and See was placed at number 60 on Empire
magazine's "The 500 Greatest Movies of all Time" in 2008.[35] It also made Channel 4's list of 50 Films to See Before You
Die[36] and was ranked number 24 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010.[37] Phil de Semlyen of
Empire has described the work as "Elim Klimov’s seriously influential, deeply unsettling Belarusian opus. No film – not
Apocalypse Now, not Full Metal Jacket – spells out the dehumanising impact of conflict more vividly, or ferociously... An
impressionist masterpiece and possibly the worst date movie ever."[38] It ranked 154th among critics, and 30th among directors,
in the 2012 Sight & Sound polls of the greatest films ever made.[39]

Film review aggregator Rotten Tomatoes reported a 96% approval critic response based on 23 reviews, with an average score of
8.3/10.[6]

Klimov did not make any more films after Come and See,[40] leading some critics to speculate as to why. In 2001, Klimov said, "I
lost interest in making films...Everything that was possible I felt I had already done."[21]

Accolades

Awards
Date of Recipients and
Award Category Result
ceremony nominees

Golden Elem
Won
14th Moscow International Film Prize Klimov[3][15][6][25]
12 July 1985
Festival[41] FIPRESCI
Elem Klimov Won
prize

See also
List of submissions to the 58th Academy Awards for Best Foreign Language Film
List of Soviet submissions for the Academy Award for Best Foreign Language Film

References
Notes

1. "Come and See (15)" (http://www.bbfc.co.uk/releases/come-and-see-1970-0). British Board of Film Classification.

16 December 1986. Retrieved 29 May 2013.
2. "IDI I SMOTRI (1985)" (https://www.bfi.org.uk/films-tv-people/4ce2b72b62c27/). British Film Institute. Retrieved
5 December 2018.
3. Chapman, James (2008). "Chapter 2 war as tragedy (pp. 103ff.)" (https://books.google.com/?id=jIDgWXZpBYkC
&pg=PA103&dq=%222+war+as+tragedy%22). War and Film (https://books.google.com/?id=jIDgWXZpBYkC&pri
ntsec=frontcover). Islington: Reaktion Books. ISBN 978-1-86189347-5.
4. Адамович, Алесь [Adamovich, Ales]; Брыль, Янка [Visor, Vanya]; Калесник, Уладзимир Андрэевич [Kalesnik,
Uladimir Andreevich] (1977). Я из огненной деревни... (https://books.google.com/books?id=_JY8AAAAIAAJ) [I
Am from the Fiery Village...] (in Belarusian). Minsk: Мастацкая лит-ра [Art lit-ra].
 5. Rein, Leonid (2011). The Kings and the Pawns. Collaboration in Byelorussia during World War II (https://books.g
oogle.com/?id=JCbNmF3iXP0C). New York City: Berghahn Books. ISBN 978-0-85745043-2. "The stories of
survivors from the burned villages were collected in the 1970s by three Byelorussian writers, Ales' Adamovich,
Janka Bryl', and Vladimir Kolesnik and published as a book in Russian and Byelorussian under the title Ya iz
ognennoj Derevni ... [I am from the fiery village]. See Adamovich et al., Ya iz ognennoj Derevni ... (Minsk, 1977)
(p. 321 (https://books.google.com/?id=JCbNmF3iXP0C&pg=PA321&dq=%22The+stories+of+survivors+from+the
+burned+villages+were+collected+in+the+1970s+by+three+Byelorussian+writers,+Ales'+Adamovich,+Janka+Bry
l',+and+Vladimir+Kolesnik+and+published+as+a+book+in+Russian+and+Byelorussian+under+the+title+Ya+iz+o
gnennoj+Derevni+...%5BI+am+from+the+fiery+village%5D.+See+Adamovich+et+al.,+Ya+iz+ognennoj+Derevni
+...+(Minsk,+1977).%22))."
6. "Come and See (Idi i smotri) (1985)" (https://www.rottentomatoes.com/m/1036052_come_and_see). Rotten
Tomatoes. Fandango. Retrieved 16 May 2019.
7. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences.
8. "Біблія, Адкрыцьцё, Кіраўнік 6. Read Bible online" (http://webcache.googleusercontent.com/search?q=cache:bi
ble.pearmobile.com/chapters.php%3Fid%3D11173%26pid%3D68%26tid%3D2%26bid%3D71+%22ідзі+і+глядзі
%22) [The Bible, Revelation, Chapter 6] (in Belarusian). Retrieved 30 April 2019.
9. Garland, Anthony Charles (http://www.spiritandtruth.org/teaching/teachers/tony_garland/bio.htm) (2007). A
Testimony of Jesus Christ - Volume 1. A Commentary on the Book of Revelation (https://books.google.com/?id=K
7vqJyRAdj4C&printsec=frontcover). SpiritAndTruth.org. 2007. p. 325 (https://books.google.com/?id=K7vqJyRAdj
4C&pg=PA325&dq=%22Ἐρχου+καὶ+ἴδε%22%22Erchou+kai+ide%22%22Come+and+see%22%22Rev.+6:1,+3,+
5,+7%22). ISBN 978-0-978-88641-7.
10. Wise, Damon (28 October 2013). "Top 10 war movies. 5. Come and See" (https://www.theguardian.com/film/filmb
log/2013/oct/28/top-10-war-movies). The Guardian. London. Retrieved 4 July 2016.
11. The same biblical quote is at the center of the film Horsemen (2009).
12. "«Хатынь» - Политика геноцида | Геноцид белорусского народа" (http://khatyn.by/ru/genocide/) [Khatyn -
Genocide policy | The genocide of the Belarusian people]. khatyn.by (in Belarussian). Khatyn memorial. 2005.
Retrieved 6 June 2019.
13. Youngblood, Denise Jeanne (2007). Russian War Films. On the Cinema Front, 1914-2005 (https://books.google.
com/?id=6VBoAAAAMAAJ). Lawrence, Kansas: University Press of Kansas. p. 197 (https://books.google.com/?i
d=6VBoAAAAMAAJ&q=%22As+they+disappear+into+the+birch+forest,+a+title+informs+us:%22%22628+Beloru
ssian+villages+were+destroyed,+along+with+all+their+inhabitants.%22). ISBN 978-0-70061489-9.
14. Dunne, Nathan (18 July 2016). "Atrocity exhibition: is Come and See Russia's greatest ever war film?" (https://w
ww.calvertjournal.com/articles/show/6415/come-and-see-elem-klimov-war-film-bastards-star-brest-fortress). The
Calvert Journal. Retrieved 20 July 2019.
15. Noah, Will (10 January 2018). "Elem Klimov's Boundary-Pushing Satires" (https://www.criterion.com/current/post
s/5257-elem-klimov-s-boundary-pushing-satires). The Criterion Collection. Retrieved 11 November 2018.
16. Марина Мурзина [Marina Murzina] (20 October 2010). Иди и смотри: съёмки превратились для Элема
Климова в борьбу с цензурой (http://www.aif.ru/culture/21267) [Come and See: shooting turned for Elem Klimov
in the fight against censorship]. Аргументы и факты [Arguments and Facts] (in Russian) (42). Retrieved
30 August 2016.
17. Holloway, Ron (1986). "Interview with Elem Klimov" (http://www.kinema.uwaterloo.ca/article.php?id=401).
Kinema. Retrieved 11 November 2018.
18. Niemi, Robert (2018). "Come and See [Russian: Idi i smotri] (1985) (pp. 61-63)" (https://books.google.com/?id=9
4RSDwAAQBAJ&pg=PA61&dq=%22Come+and+See+%5BRussian:+Idi+i+smotri%5D+(1985)%22). 100 Great
War Movies. The Real History Behind the Films (https://books.google.com/?id=94RSDwAAQBAJ&printsec=frontc
over). Santa Barbara, California: ABC-CLIO. ISBN 978-1-440-83386-1.
19. "Elem Klimov about Come and see" (https://www.google.com/search?tbm=vid&q=%22Elem+Klimov+about+Com
e+and+see%22%22solidaritet2010%22%22imdb.com/title/tt0091251%22) (interview with English subtitles).
Retrieved 30 May 2013.
20. Вера Маевская [Vera Maevskaia] (20 July 2004). Алексей КРАВЧЕНКО: "Со съемок фильма Климова "Иди и
смотри" я вернулся не только страшно худой, но и седой" (http://bulvar.com.ua/gazeta/archive/s456-29_930/3
30.html) [Aleksey Kravchenko: "From the making of Klimov's film Come and See I returned not only terribly
skinny, but also grizzled"]. Бульвар [Boulevard] (in Russian) (29). Retrieved 31 March 2018.
21. Ramsey, Nancy (28 January 2001). "FILM; They Prized Social, Not Socialist, Reality" (https://www.nytimes.com/2
001/01/28/movies/film-they-prized-social-not-socialist-reality.html). The New York Times. Retrieved 5 May 2019.
22. Menashe, Louis (2014) [2010 (https://books.google.com/?id=p5tEAQAAIAAJ)]. Moscow Believes in Tears.
Russians and Their Movies (https://books.google.com/?id=S3u3b_U-c78C&printsec=frontcover). Washington,
D.C.: New Academia Publishing, LLC. pp. 95 (https://books.google.com/?id=S3u3b_U-c78C&pg=PA95&dq=%22
Come+and+See+(1985)%22+Klimov)-96 (https://books.google.com/?id=S3u3b_U-c78C&pg=PA96&dq=%22Com
e+and+See%22+Klimov). ISBN 978-0-984-58322-5.
23. Stilwell, Blake (26 April 2017). "This Soviet WWII movie used real bullets instead of blanks" (http://www.wearethe
mighty.com/articles/come-and-see-wwii-movie-used-real-bullets-on-set-instead-of-blanks). wearethemighty.com.
Retrieved 31 March 2018.
24. Gault, Matthew (28 May 2016). " 'Come and See' Turns the Eastern Front Into a Hallucinatory Hellscape" (https://
warisboring.com/come-and-see-turns-the-eastern-front-into-a-hallucinatory-hellscape/). warisboring.com.
Retrieved 31 March 2018.
25. Youngblood, Denise Jeanne (2007). Russian War Films. On the Cinema Front, 1914-2005 (https://books.google.
com/?id=6VBoAAAAMAAJ). Lawrence, Kansas: University Press of Kansas. p. 197 (https://www.google.com/sea
rch?tbm=bks&q=%22It+drew+28.9+million+viewers,+ranking+sixth+at+the+box+office+in+1986.+It+was+named
+best+film+at+the+Moscow+Film+Festival+in+1985,+and+best+film+of+1986+in+the+Soviet+Screen+poll%22).
ISBN 978-0-700-61489-9.
26. Goodman, Walter (6 February 1987). "Film: 'Come and See', from Soviet" (https://www.nytimes.com/1987/02/06/
movies/film-come-and-see-from-soviet.html). The New York Times. Retrieved 30 May 2013.
27. Kempley, Rita (25 September 1987). "Come and See review" (https://www.washingtonpost.com/wp-srv/style/longt
erm/movies/videos/comeandseenrkempley_a0ca58.htm). The Washington Post. Washington, D.C. Retrieved
7 January 2017.
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Entertainment Weekly. Retrieved 20 January 2017.
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d-see/). The Village Voice. New York City. Retrieved 25 February 2014.
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Club. Chicago: Onion, Inc. Retrieved 25 February 2014.
32. The Word (41). London. July 2006. p. 122. Missing or empty |title= (help)
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est-films-ever-made). The Guardian. London. Retrieved 25 February 2014.
34. Ebert, Roger (16 June 2010). "Come and See" (http://www.rogerebert.com/reviews/great-movie-come-and-see-1
985). RogerEbert.com. Retrieved 25 February 2014. Yet in the biblical context chosen by Klimov for his movie,
always in Chapter 6 of the Apocalypse, verse 14 states: "the sky receded as a scroll when it is rolled up" (6:14 ||
Isaiah 34:4).
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id=161521&page=3). Channel 4. 22 July 2006.
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efault.asp?film=24). Empire. 2010.
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39. "Votes for IDI I SMOTRI (1985)" (http://www.bfi.org.uk/films-tv-people/4ce2b72b62c27/sightandsoundpoll2012).
Sight & Sound. British Film Institute. Retrieved 20 January 2017.
40. Bergan, Ronald (4 November 2003). "Obituary: Elem Klimov" (https://www.theguardian.com/news/2003/nov/04/g
uardianobituaries.russia). The Guardian. London. Retrieved 8 June 2009.
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miff34/eng/archives/?year=1985) on 16 March 2013. Retrieved 9 February 2013.

Further reading
Michaels, Lloyd (2008). "Come and See (1985): Klimov's Intimate Epic". Quarterly Review of Film and Video. 25
(3): 212–218. doi:10.1080/10509200601091458 (https://doi.org/10.1080%2F10509200601091458).

External links
Come and See (https://www.imdb.com/title/tt0091251/) on IMDb
Come and See (https://www.allmovie.com/movie/v10400) at AllMovie (rating 4.5/5)
Come and See (https://www.the-numbers.com/movie/Come-and-See#tab=cast-and-crew) at The Numbers
Come and See (https://web.archive.org/web/20131202231419/http://cinema.mosfilm.ru/films/film/Idi-i-smotri/idi-i-
smotri/) at official Mosfilm site
Иди и смотри 1 серия (https://www.youtube.com/watch?v=oDq9fL--Avw) and Иди и смотри 2 серия (https://w
ww.youtube.com/watch?v=zYIaDYRipoM): part 1 (first hour) and part 2 (second hour) were posted for free on
YouTube by Mosfilm. Captions are viewable in English, Hebrew, Hungarian and Portuguese.

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