grob248 Reviews

Mother Joan of the Angels (1961)

Polish nuns

[9/10 · 2 June 2006]

While not a nunsploitation film at all, it's hard not to at least consider the analogy given the content, or at least the form. Within the context of nun films, this qualifies as the best of the lot, easily surpassing even "Flavia the Heretic". However, there is not a hint of exploitation here - this is a highly artistic work that values subtle and minimalist approach. All the excesses take place off screen. Instead, the film concentrates on the man's inner torture and crisis of faith, delivered with stern black and white cinematography. These factors are used to a great effect and sometimes do, in fact, lead to the atmosphere of veritable horror, particularly the devastating scenes leading up to, and following the murder of the two peasants. All in all, criss cross Bergman circa his "death of god" trilogy with snippets of "Incubus" (the one with William Shatner), Czech Republic's "Witches'Hammer", Japan's "School Of The Holy Beast" and "Excorcist", and you will end up in the ballpark next to "Matka Joanna..." Made in the early 60's, the film has obviously been quite offensive to the Catholic church, which always had a huge influence in Poland, even during the communist years. The scene of the priest going to a rabbi for advise (Mieczyslaw Voit doubling in the main role of a tortured priest and a rabbi)and being accused of ignorance is unsettling enough for any good Samaritan. But in those days the church must have had less leverage if, for instance, it wanted to have the film banned, I reckon. Overall, though, the movie takes stabs at both the insular macrocosm of the church as well as the secular world. The latter, for example, with the scene of a nobleman seducing a gullible nun and then abandoning her the morning after. And the former - with the scenes of priests impotently attempting to exorcise the sinful nuns. The exorcism sequences, namely those of the nuns, are wonderful actually - once again, subtle and also theatrical and surreal, but without the silly "Exorcist"-type horror bombast, although there are traces of it in the scene depicting the first encounter between the priest and mother superior. But since this movie was made way before the "Exorcist" - you can disregard the whole thing. Anyhow, this piece is way up there in the left-field Polish pantheon along with "Saragosa Manuscript" and early works of Andrzej Zulawski. Highest recommendations.

The Devil (1972)

Andrzej Zulawski's DIABEL -I-

[18 November 2004]

Along with "The Silver Globe", this is my favorite Zulawski film. Why? Well, maybe because both of them are so utterly insane. Zulawski is hardly known here in the states, and the only film of his that is available domestically (thanks to Anchor Bay) is "Possession". Sad really but that's life. As the saying goes, the depth of an idea is inversely proportional to the mass perception. It isn't the case for many famous artists of course, but for Zulawski it rings true. I haven't seen any of the stuff he made while living in France (I understand that many of them are on the more erotic side of things) with the exception of the above-mentioned "Possession" and "The Importance of Love" (with Romy Schneider and Fabio Testi), which was definitely *something". I also watched Zulwaski's later effort "Szamanka" which I have no comment on because I viewed a bootleg copy in Polish with French subtitles, and I speak neither of the languages. The same basically goes for "The Silver Globe" actually, which, as far as I know, can only be seen in Polish with German subtitles. But damn it, this film (which was never even finished) was nuts with or without English subtitles. And so is "Diabel". which I was lucky enough to find WITH the English subs! Hooray!!! Why this movie scared both the erstwhile Polish communist authorities, who were highly confused by it and suspected that it carried hidden anti-government messages, and the Catholic Church, which was completely outraged for reasons quite obvious if you've seen the film, much more so than the secular authorities, is clear even thirty something years (made around 1972 and then shelved by the censors until the late 80's) after it was made. Human insanity, cruelty and depravity are all here on display, wrapped in a guise of a historical epic and punctuated by Zulawski's trademark chaotic camera work and overall delivery. Is the film excessive and gratuitously shocking? Yes! But why shouldn't it be? Zulawski was young (and surely angry) back then, and the things he was going up against were, still are, and have always been a thousand times more excessive. If you can't take it - oh well. Maybe you should pull the wool off your eyes and look around. Another reason why I chose "Diabel" and "The Silver Globe" as favs is because of the time and place. They were made in the then Eastern Block during the Cold War and on the director's native soil, which must count for something, right? - all of which might have(or not) added more poignancy to the films (don't tell that to Roman Polanski though).After you move to France, the Artist's paradise that it is, it becomes safe for you to do what you do. The chance to suffer for your art diminishes significantly. Although, of course, you could suffer financially instead, which is something many Eastern European film makers discovered after the ascent of the market economy. Then again, in the new world disorder things change rather quickly. The recent slaying of a Dutch film director (Theo van Gogh was his name, I believe) by Muslim extremists shows that an artist in need can still fully suffer if he wants to. Anyway, back to "Diabel" - I love it. It's not something to be taken lightly of course. As a friend of mine wistfully observed: "the scene where a guy gets shot in the face is one of the most memorable I've seen in any film. So jarringly sudden, I was literally shocked - I don't know why it affected my like that." And I suppose I'll just leave it at that. I mean, how often does that happen in this day and age? Blessed be the sick! Amen.

Russkiy bunt (2000)

Average take on Pushkin's classic work

[22 January 2001]

This is just OK. Quite exceptional but far from remarkable interpretation of Pushkin's classic. Mashkov is pretty good in the role of Pugachev. Masha and Grinev are kind of bland though. And it was probably a mistake to cast Makovetskiy as Shvabrin. His stone-cold facial expression was great in "Of Freaks and Men," but here it doesn't fit at all. Overall, the movie looks good as far as the costumes, settings and other historical aspects go, but it lacks something that would really pull you in and make this film a true historical epic. "War and Peace" it ain't. Like it was said by the previous reviewers, if you are interested in Russian culture and history, you should see it. Just don't expect to be blown away.

Man Behind the Sun (1988)

Men Behind The Sun

[4 January 2001]

"Men Behind The Sun" belongs to a totally different category than "Cannibal Holocaust," to which everyone seems to measure up this movie. I haven't seen its other installments, but this first "Men Behind The Sun" is a genuine historical drama with a strong documentary feel, and the notorius torture/experiments scenes only emphasize the film's brooding purpose. Hell, I will go as far as to say that this has far more in common with "Schindler's List" than with the horror genre. Purely in terms of "disgust" aspect, I guess it doesn't surpass "Cannibal Holocaust," but because this movie deals with the actual historical events, it actually turned out to be way more disturbing, despite the "fake documentary" style used in "Cannibal Holocaust." This movie is not a video nasty despite its brutal content. This is very strong and disturbing stuff, but it should be seen.

When Father Was Away on Business (1985)

otac na sluzbenom putu

[27 December 2000]

If you are familiar with Emir Kusturica's work, chances are you probably saw "Underground" or "Times of the Gypsies," or perhaps "Black Cat, White Cat." I guess this earlier film is a bit harder to get into because it is less eccentric than the usual Kusturica fair, and it focuses on a specific point of Yugoslav history, namely the time immediately following the break-up between Tito and Stalin. The film itself is very good, but it would certainly help your perception if you were familiar with historical aspect of it all. Some similarities can be drawn to "Tito i ja" because "Otac.." is seen through a child's point of view, but then it was made something like ten years prior to "Tito i ja," so I guess you should disregard that statement altogether. The film is a drama from start to finish, and like other Kusturica's films, it requires much of emotional involvement as well as some patience. But I definitely like it, although it's not for everyone. I still recommend it, though.

Brat 2 (2000)

BRAT2

[22 October 2000]

I thought the first "Brat" was really good. Too bad I can't really say the same about it's sequel. Here, director Aleksei Balabanov basically united with the character of his own creation (Danila, that is) under the banner of Russian nationalism. This movie is anything but politically correct. Danila and his older brother from the first movie go up against everyone, from Ukrainians and Russian mafia, to American cops and, ahem, African-Americans. The basic message here is something like "we are Russians; we may be messed up but we got the truth and the spirit on our side, while all the rest of you are wicked because you can think of nothing else but money and material gains." This invective, of course, is aimed at America and its materialistic culture. The accusations are not totally unfounded, but "Brat2" really takes them to an overblown, bombastic level, boosting and enflaming Russian patriotic sentiments. For that reason, I bet that huge parts of Russian audiences certainly took it to their liking, although I don't really know how much commercial success the movie has actually enjoyed in Russia proper. Some good gags are still present, but they are far too few and are even more macabre and virulent than before. The musical score took a downturn as well, being dominated by cheesy Russian pop stars this time around. I mean, Slava Butusov (whose songs comprised the soundtrack for the first Brat) is no Tchaikovsky, but he very well may seem so compared to the music we have here ("Good Bye America" and song by Aukcyon notwithstanding) . The atmosphere and visual style of the first Brat was also lost. Balabanov's shots of Moscow and Chicago don't even come near what he was able to pull off in St. Petersburgh. And, of course, the whole movie is not nearly as engrossing and compelling as the first installment. In interviews, Balabanov was saying that initially he was gonna stop after the first Brat, but then the idea for the follow-up happened to materialize. Well, he should've stuck to original considerations. Or maybe the man who gave us "Of Freaks And Men" just wanted to go commercial (in Russian terms, that is). Then again, it may depend on how you interpret this whole Russian patriotism thing. As far as I am concerned, the "kirdyk" to America didn't turn out to be that exciting.

The Wounds (1998)

The Wounds

[22 October 2000]

Dark, bleak, hopeless, harsh, uncompromising, periodically injected with black humor, but overall quite powerful - Srdjan Dragojevic's follow-up to "Pretty Village, Pretty Flame," weaves a tragic coming of age story in Yugoslav capital Belgrade during the turbulent 90's with all the sharp cultural, social, political references and critique one could ask for. This film actually fits more along the lines of "Cabaret Balkan," except that "Rane" has this gangster twist to it. Among the supporting actors I noticed a lot of familiar faces such as Miki Manojlovic, Dragan Bjelogrlic, Branca Katic, Nikola Kojo, who you may be familiar with from films like "Underground," "Black Cat, White Cat," above mentioned "Pretty Village, Pretty Flame" and "Cabaret Balkan" and such. Definitely recommended if you are interested in Serbia/Yugoslavia or Serbian film making.

Brother (1997)

BRAT

[22 October 2000]

It may not qualify to be a great movie, but it is surely a very good one, and quite an impressive portrait of the post-communist Russian society. Oh yea, the main character Danila is quite a "character." A very likable guy (though he "dislikes jews and film directors," not to mention America and anyone from the Caucases, but he is cool with Germans - go figure), likes Nautilus Pompilius, very kind too (when he has the money, he is always ready to share), somewhat dimwitted but at the same time very prompt and knows what's cooking. He obviously was in Chechen war but always dodges the questions about his army experience because, er, it's repugnant to him. So he is all that and he is also a cold blooded killer with no remorse. Man, Dostoyevskiy must be turning in his grave! But can you really judge Danila? He embodies a significant part of Russian society. A good thing about the movie is that director Aleksei Balabanov doesn't try to do it either, but lets the viewer decide on his/her own. Among other things the movie also boasts a unique St. Petersburgh atmosphere, an image of a self-sacrificing Russian woman (Danila's lover), a villain who constantly uses saying and proverbs in his speech, and, of course, a brief appearance by Mr. Butusov of Nautilus Pompilius fame. And let us not forget Danila's spiritual advisor of sort - the intellectual bum Nemetz, who definitely knew what he was talking about when he called the city an "evil force." I could go further with this review, but why don't you just see this movie for yourself...

The Beyond (1981)

A cult film with great visuals but little plot

[22 October 2000]

Basically, it's all about form and no substance. The plot is virtually non-existent and emotionally lifeless. The film's pace is quite slow, and even with all the gore it gets pretty dull and monotonous after a while. Visually, however, "The Beyond" is very impressive (including the overblown but still stunning gore scenes), and the haunting atmosphere is certainly there. Plus, the film's ending is, undoubtedly, very cool and startling.

And so, with all its pluses and minuses, the status of "The Beyond" is that of a cult film, nothing more, nothing less.

Vampyr (1932)

Dark, eerie, atmospheric

[4 October 2000]

For a movie made in 1932, this is very, very impressive. Confusing plot aside, the emphasis in this Victorian nightmare is placed on the cinematic aspects. "Vampyr" is plodding, very dark and eerie, filled with such haunting atmosphere and brooding visuals full of unseen, but lurking terror - very effecting. It works on a subconscious and emotional level more than any other way. I think it's worth a look.

eXistenZ (1999)

An enjoyable movie drowned by unfair criticisms of folks looking for a "Matrix" knock-off

[3 October 2000]

For the amount of negative feedback it received from the IMDb users, "eXistenZ" isn't half bad. Fairly decent and enjoyable actually. Not as impressive as Cronenberg's other films such as, say, "Videodrome," but fairly good nonetheless. It fits quite well along the lines of the above-mentioned "Videodrome" and even "Naked Lunch." The special effects are instantly recognizable, and are used sparingly, which, in my opinion, is a good thing. Acting, while far from remarkable, works reasonably well. And yes, there is a plot, as simplistic as it may be. The movie may just be too meditative and inward-looking for the action oriented folks, which brings us to this whole "Matrix" thing. Comparing "eXistenZ" to "Matrix" is COMPLETELY UNFAIR. Of course all these people who were expecting a "Matrix" knock-off were dissappointed. "Matrix" is a very well crafted sci-fi-cyber- action flick, but whose appeal rests entirely on the non-stop special effects, action sequences and ultra-hip characters. "eXistenZ" is not quite about that. In fact, it is completely different. The only reason it was marketed as such by the studio is for commercial reasons. I am sure it wasn't even Cronenberg's idea. "eXistenZ" is so much more phlegmatic and introspective, and action and special effects are only a supplement. And no, this movie is not "totally boring," unless all you are used to watching are movies like "Matrix" or "Armageddon." I guess I shouldn't even recommend directors like Lynch or Tarkovsky to this kind of people. In any case, while far from great, "eXistenZ" is an enjoyable little movie. Just don't expect it to be an action flick because it's not. It's more like a prolonged, modern day Twilight Zone episode focusing on alternate reality, and directed, of course, by Mr. Cronenberg, which should say something about the way it turned out.

Cabaret Balkan (1998)

This cabaret is the darkest one yet. Not for the faint of heart, but powerful nonetheless.

[30 September 2000]

Very bleak and disturbing movie ridden with dark symbolism and utterly depressing resolutions. But what else would you expect from a film depicting a day in Belgrade on the eve of NATO's bombing campaign against Serbia. It is a great film though, but which deals with the dakrest subject matter, focusing on a society in the throws of agony, continuous degradation of the social fabric, and erosion of humanity under extreme conditions.

You can accuse it of being pretentious, self-indulging, or of trying to cover its supposed lack of substance by overwhleming use of violence, but you are living *here* in your cozy apartments, with your salaries and plentiful consumer goods while many people *there* actually experienced the life that is depicted in this movie. "Cabaret Balkan" is one gutwrenching scream of anguish and despair in the face of the harsh reality that people had to endure, and still do, judging by the latest news from Yugoslavia.

The Diamond Arm (1969)

Brilliantovaya Ruka

[30 September 2000]

The last time I saw it was something like 10 years ago. Just recently I watched it again and was tempted to write about it. The physical humor here doesn't stand the test of time very well, and will bring nothing but a smirk to the faces of the young audiences, Russian and non-Russian alike. However, for the older generation, the names of Nikulin and Mironov are rather sacred, so there is no dispute about this film being considered a Soviet classic. Admittedly, the majority of the film's acclaim nowadays rests on the element of nostalgia, but not entirely. The duo of clumsy crooks played by Andrei Mironov and Anatoliy Papanov come off as quite impressive even today. Papanov's character is especially picturesque, delivering loads of caustic one-liners in his one-of-a-kind dialect that are just as hilarious as they were 30 years ago. Well, at least I think so, although I guess it's one of those "you either get it or you don't"-type things. Also, already mentioned by other reviewers Nonna Mordyukova's small role as a hawkish house manager is memorable as well. Unfortunately for foreign audiences, the whole appeal of this movie is of a rather esoteric nature. So, if you are not familiar with the realities of Soviet life or with Russian cultural folklore, you will just shrug your shoulders and ask what one of reviewers below asked: "where is the humor."

Tito and Me (1992)

Satiric rumination on the cult of Tito as seen through the eyes of a young boy

[16 September 2000]

Narrated by the main protagonist - 10-year old Zoran, "Tito i ja" uses plenty of comedic tones, warm atmosphere," and almost takes shape of a family movie in order to poke fun at the cult of Tito in the former Yugoslavia and to pinpoint cracks and contortions in the Yugoslav society during the communist period. Young Dimitrie Vojnov gives a heartfelt performance as Zoran who was not only able to hold his own amidst all the peer pressure and propaganda, but actually effected people around him. In the supporting cast, Lazar Ristovski of the "Underground" fame got another outstanding role under his belt as a dogmatic "young pioneers" instructor driven to suicide by Zoran's unrealized nonconformity.

Peculiarities of the National Fishing (1998)

"Too Russian" or not "too Russian," it's quite boring.

[31 August 2000]

Just like its predecessor "Osobennosti Nazionalnoi Okhoty," this movie has this "it's too Russian for the outsiders to understand"-vibe going on. Not that it's a lot of fun to watch even if you are Russian. With exception of a few funny gags that are based on Russian drunkyard humor (which, indeed, is probably too Russian for the outsiders to understand; then again, if you think you can get it - give it a try), there is nothing the movie has to offer. The only exception is interesting rumination by Buldakov's character about the role and influence of vodka in Russian life and national character. If this sounds intriguing to you - watch the movie, if not - forget it.

Assa (1987)

ASSA

[31 August 2000]

"Assa" gained a cult following in Russia upon its initial release, and I suppose that it still can be considered so. The movie is not very easy to get into. It's long, very slow-paced, and quite dark in terms of actual colors as well as atmosphere. Artistically, it has some good things going for it including the soundtrack, the actors' performances and some arty injections. I still don't think that the movie is as great as some people paint it out to be, although, one could probably argue that it, in a way, strided to fill a gap, one way or the other, for the young, subculture-oriented Russian 80's generation. Using the Soloviev connection, I'll say that if "Chernaya roza - emblema pechali..." was an, inverted, absurdistic take on later-period Soviet life, then "Assa" portrays a tragic clash between idealistic innocence and harsh Soviet reality.

Begotten (1989)

Definitely bizzarre, but the meaning is subjective

[11 August 2000]

Definitely one of the most bizarre pieces of moviemaking you will ever see. You need to sit through "Eraserhead," "Tetsuo:The Iron Man," and the like to have at least some preparation for this one. Not that I am about to claim that I understand what the film's intentions are. If it wasn't for the brief summary on the tape's cover, then I would be completely at loss, and even that wasn't really much help. Then again, as some people below have argued, it just may be some self-indulging mumbo-jumbo, so there might not be any need to stress over the meaning of it. In any case, because people's opinions on this movie are completely bipolar, I simply concluded that it can be looked at as, so to say, "raw matter" or "raw substance" (whichever you prefer), and one should just make out of it what he can, using his/her own perspective, experiences, etc. In other words, it's all very subjective. Personally, I can't say that I got something intellectually fulfilling out of it. I enjoyed the bleakness and weirdness of it all, though we all know how wearisome these things can become. So basically, give it a try if you are into all things out of this world, but you should probably keep you expectations reserved.

Tales from the Gimli Hospital (1988)

Hmm

[10 August 2000]

If you are looking for something unorthodox and bizarre and very arty, you should look into this. Guy Maddin turned his obsession with silent movies, surrealism, Luis Bunuel, David Lynch and god known what else into...something. I probably don't possess enough movie knowledge to competently judge this one or grasp everything that's going on, but I suppose that Maddin has something going here. Not that I had a lot of fun watching it. This is for an exquisite taste only. Nonetheless, it still left me curious about Maddin's other works.

Kin-dza-dza! (1986)

Mama-mama, chto ya budu delat'...Koo, or should I say Kyu..

[10 August 2000]

There isn't much I have to say about "Kin Dza Dza" that hasn't been said by the previous reviewers. But I like this movie so much that I could not resist throwing in my two cents. Yea, it's primitively, or, as someone has pointed out, minimalistically done, so don't expect any special effects. But you know what, who needs them when the movie is that good. The galaxy "Kin Dza Dza" is the slums of the universe, and it shows us our alternate, post-apocalyptic future with a great sense of humor, pantomime and sarcasm. Great cast too. Lyubshin, Leonov and Yakovlev do a fine job here. Since the film's director is Georgian, some Georgian gags were thrown in as well. Oh, and did anyone notice Dyadya Vova's and Gedevan Aleksandrovich's renditions of Frank Sinatra's songs? "Blade Runner," "Brazil," "The Road Warrior," and, to a lesser extent, Luc Besson's "The Final Combat" are all considered to be the classics of the post-apocalyptic, anti-utopian movie worlds. Well, you can add "Kin Dza Dza" to this list.

Blokpost (1999)

Blokpost

[8 August 2000]

You can call "Blokpost" a Russian "Full Metal Jacket." It takes place in the Caucasus, presumably in Chechnya where a platoon of Russian soldiers is sent to a distant checkpoint after an accident in which a civilian has been shot. The film is a drama, but it also carries some comedic touches, which primarily focus on the soldiers' day to day interactions with each other. Otherwise, the platoon is simply trying to survive while dealing with the hostile attitude of the locals, averting an unseen sniper who constantly takes shots at them, and facing the Russian investigation committee. In fact, it seems that the investigation office at times poses more threat to the soldiers than the enemy they are supposed to fight with, especially when the general basically betrays the whole platoon. The film's ending is tragic and somewhat abrupt, which was probably done purposefully in order to heighten the unsettling feel and a bitter aftertaste. Overall, quite a good movie, though far from a masterpiece. However, it's surely worth seeing if you are interested in the subject this movie deals with.

The Burning Moon (1992)

C**p

[3 August 2000]

I rented this movie on a whim, and it was a total waste of time and money. Completely lame and cheesy, amateur horror flick from Germany. It has a good amount of gore alright, but it's so fake, stupid, boring and redundant...don't even come near it. It's not even worth the price of paper its cover was printed on.

The Killer (1989)

Good action film? Yes. A cinematic masterpiece? Hardly, unless you are a 100% action afficionado.

[3 August 2000]

Chow Yun Fat is very cool, no doubt. The outrageous gun battles are positively kick-ass. But to call this movie a masterpiece is an overstatement. Is "The Killer" regarded so highly because John Woo's action style became so influencial? The plot here is boring and uninvolving. The humane sensibilities (the blind girl, the brotherly bond between Yun Fat and Danny Lee, and those "Dumbo" and "Mickey Mouse" gags) thrown in amids all the blood and violence are cute but ultimately fail to become really touching, especially with that cheesy background music and silly religious allusions. All in all, this is an above average action film. If you are an action fan, and, hence, interested first and foremost in action sequences, definitely see it and enjoy what John Woo does best. If you are looking for something more, you may want to think twice before seeing it.

Darkness/Light/Darkness (1989)

Svankmajer's short films are just as good

[2 August 2000]

If you are a fan of Jan Svankmajer, definitely check this out. Subtitled as "Scenes From The Surreal," this collection of Svankmajer's short films includes "Darkness, Light, Darkness," "Manly Games" and "Death of Stalinism," plus a documentary on Svankmajer and his work. Those who are familiar with his full-length features such as "Alice" or "Faust" will instantly recognize the trademark usage of clay animation and marionettes combined with live action. On "Darkness, Light, Darkness" we witness a clay man basically building himself up from a scratch. "Manly Games" is a soccer game like you've never seen it before. (When a player is down, he is really down, I'll tell you that.) And "Death of Stalinism" is Svankmajer's unique rumination on the fall of communism and the Velvet revolution in Czech republic.

So, if you are a fan of Svankmajer, this, of course, is mandatory. If you are not, check this out and you just might become one.

Clear Skies (1961)

Chistoye Nebo

[1 August 2000]

Probably the most daring Soviet movie from Khrushchev's "warming" period, directed by Grigori Chukhrai (whose son Pavel made the Oscar-nominated "The Thief.") Of course, such movie was possible only after Stalin's death when Khrushchev in 1956 denounced the "cult of personality" and all of Stalin's purges. This movie deals with exactly that subject. Chukhrai had a hard and very delicate task on his hands because he had to portray the issue while still following the propaganda guide-lines and affirming the righteousness of the whole communist system, so that the movie would actually pass the censors. What he did was create a story seen through the eyes of a young woman who fell in love with a pilot during WWII. Her lover then was captured by the Germans and, after he was able to return home, was imprisoned as a traitor. When he is released during the Khrushchev period, he attempts to deal with the repercussions of his past experiences, trying to start a new life. The movie, naturally, has a very happy, Soviet-style ending, but it manages to show pretty well the dramatic struggle of a man who genuinely loves his country and tries to undestand what he has done wrong, and his lover who stood beside him all along. I wouldn't say that "Chistoye Nebo" is any sort of a masterpiece (although it's kind of hard for me to judge), but it was an extremely important work for its own time period, and still carries a potent historical significance.

White Sun of the Desert (1970)

White Sun of the Desert

[29 July 2000]

Needless to say, this film carries an enormous cultural significance for the Russians. Today, Russian press even hails it as the first Russian/Soviet action film, although "Piraty XX Veka" is much better suited for that title. Besides, this movie is not the kind of action that people are used to nowadays. There is no point in going over the film's story line because it is very simple and focuses on good vs. bad guys (Soviet style, that is) during the Russian civil war. I imagine that any person who hasn't lived in the former USSR will not find much to worship here. And yet, it is truly a masterpiece that sort of happened to be made without any grand intentions, but was able to strike a chord with the entire nation. It's all very simple and naive, but the film's characters, the things they say, the theme song, it all clicks together perfectly. And the best thing about it is that neither time nor political fluctuations (like the demise of the Soviet empire) doesn't detract its magic. It just became more sarcastic, or nostalgic, depending on your perception. "White Sun of The Desert" is undoubtedly a classic of the Soviet cinema.