OVERLAY REPORT

Upon its release in 1985, *Come and See* (*Idi i smotri*) was received with a combination of high critical acclaim and profound shock. It was immediately recognized as a masterpiece of war cinema, though its extreme violence and psychological intensity made it a polarizing and physically demanding experience for audiences. ### **1. Premiere and Major Accolades** The film had its world premiere at the **14th Moscow International Film Festival** in July 1985. It was the festival's most talked-about entry and went on to win the **Golden Prize** (the festival’s highest honor, shared with the American film *A Soldier's Story* and the Greek film *The Descent of the Nine*) as well as the **FIPRESCI Prize** from international critics. ### **2. Soviet Reception and Box Office** In the Soviet Union, the film was a massive success, partly because it resonated with a public that had a deep, personal connection to the "Great Patriotic War." * **Box Office:** It drew **28.9 million viewers** during its initial run, ranking sixth at the Soviet box office for 1986. * **Audience Reactions:** Director Elem Klimov famously reported that **ambulances** had to be called to theaters in the Soviet Union and Hungary to assist viewers who fainted or suffered severe emotional distress during screenings. * **Historical Validation:** At one post-film discussion, an elderly former **Wehrmacht officer** reportedly stood up and tearfully testified that the film was 100% accurate to what he had witnessed in Belarus, stating, "everything that is told in this film is the truth." ### **3. International Critical Reviews (1985–1987)** When the film reached Western audiences (notably in the U.S. in 1987), critics were struck by its "hallucinatory realism," often comparing it to *Apocalypse Now*. * ***The New York Times* (Walter Goodman, 1987):** Goodman praised it as "powerful material, powerfully rendered" and noted Klimov's "unquestionable talent" for capturing "events terrible beyond comprehension." However, he was slightly critical of the ending, which he felt provided a dose of "instant inspirationalism." * ***The Washington Post* (Rita Kempley, 1987):** Kempley described the film as "directing with an angry eloquence" and praised how it tapped into a "hallucinatory nether world of blood and mud." * ***Sight & Sound*:** British critics noted the film's "visual poetry" and the extraordinary performance of its 14-year-old lead, Aleksei Kravchenko, whose physical transformation (his hair actually thinned and his face aged significantly during the stress of the shoot) was a subject of much discussion. ### **4. Censorship and Controversy** The reception at the time was framed by the fact that the film had been **blocked for eight years** by the Soviet State Committee for Cinematography (Goskino). * **The "Aesthetics of Dirtiness":** Censors initially rejected the script, calling it "naturalistic" and accusing it of having an "aesthetics of dirtiness." * **Title Change:** The original title was *Kill Hitler*, which censors found too provocative and "tasteless." It was changed to *Come and See*, a reference to the Book of Revelation. * **Political Context:** Its release coincided with the early years of **Glasnost** (openness), and it was seen as a bold departure from earlier, more "heroic" Soviet war movies like *The Cranes Are Flying* or *Ivan's Childhood*. ### **Summary of Detail** | Category | Detail | | :--- | :--- | | **Attendance** | 28.9 million Soviet viewers. | | **Top Awards** | Golden Prize (Moscow), FIPRESCI Prize. | | **Common Comparison** | Often compared to *Apocalypse Now* for its sensory overload. | | **Physical Reaction** | Viewers reportedly fainted; ambulances were called to theaters. | | **Critical Tone** | Praised for "unreal realism" and its refusal to romanticize war. |