During the second world war, one city on the banks of the Volga become the symbol of adversary for many nations ensnared in conflict. For the Nazi supremacy the City of Stalingrad represented the doctrines of Bolshevism. For the Soviet Union, Stalingrad represented national loyalty, patriotism and the defence of the whole country. Subsequently, for many generations, the battle of Stalingrad carries an extensive mark of lasting psychological suffering. Most notable, the German nation. Its a striking occurrence that since Germany was unified in 1989, the first moderate budget war film produced centred on this battle in 1942.
The film-makers have skilfully chronologically crafted and edited the film in several ways. To begin with, the scenes of the Warmacht relaxing in North West Italy following combat in North Africa, which resulted in them pushing back the British, Australian, New Zealand and Free-French armies. This method allows the audience a sense of calm opposing expectations before the troops are relocated to Southern Russia. During relocation, we witness the feeling of confidence instilled into the minds of the Warmacht and their future plans for Russia, once conquered. However, on arrival In Stalingrad the first images witnessed are of severely wounded and unresponsive soldiers (the ones they have been sent to replace), Russian prisoners of war being brutally mistreated and close combat soon follows. You can scene the atmosphere and their thoughts, what fate awaits them? "Stalingrad" succeeds in a series of scenes containing humanity-combat-brutality-morality-back to combat. The majority of these different scenes, binded together story-wise, accomplish a purpose and question the obligation of the war. Yet, some scenes are over dramatised and amiably over-tender, especially the third and final act.
The director, Joseph Vilsmaier resourcefully adopts a hand-held camera method for many of the combat scenes. This method helps heighten the impending danger. Also, many combat injuries are graphical in detail. Both methods that are now so common in many modern Hollywood war films of the past 15 years, post "Saving Private Ryan". The film makes the subtle conformity that is was the harsh Russian winter, lack of supplies and the deficient judgement of their high-ranking officers that defeated them.
It appears the film makers are indicatively expressing the story of the war, not just the battle of Stalingrad, in this film. The rise and fall of the Warmacht, from victory to defeat, and eventually the spirit of the German nation. A principle that sub-consciously last to this day. Not that this should be misinterpreted as passing judgement on the film-makers or the German nationals, it is just a slender observation.
Overall, "Stalingrad" is not a documentary of the titles battle, it is film, and a very virtuous one, made for dramatic presentation. The acting is good from all the cast involved, especially, Thomas Kretschmann and Dominique Horwitz as Warmacht soldiers. The production design is realistic and visionary decisive. The combat scenes express savagery and the film contains a image of sombre quality focusing on sacrifices and human interaction of a sensitive issue.
The film-makers have skilfully chronologically crafted and edited the film in several ways. To begin with, the scenes of the Warmacht relaxing in North West Italy following combat in North Africa, which resulted in them pushing back the British, Australian, New Zealand and Free-French armies. This method allows the audience a sense of calm opposing expectations before the troops are relocated to Southern Russia. During relocation, we witness the feeling of confidence instilled into the minds of the Warmacht and their future plans for Russia, once conquered. However, on arrival In Stalingrad the first images witnessed are of severely wounded and unresponsive soldiers (the ones they have been sent to replace), Russian prisoners of war being brutally mistreated and close combat soon follows. You can scene the atmosphere and their thoughts, what fate awaits them? "Stalingrad" succeeds in a series of scenes containing humanity-combat-brutality-morality-back to combat. The majority of these different scenes, binded together story-wise, accomplish a purpose and question the obligation of the war. Yet, some scenes are over dramatised and amiably over-tender, especially the third and final act.
The director, Joseph Vilsmaier resourcefully adopts a hand-held camera method for many of the combat scenes. This method helps heighten the impending danger. Also, many combat injuries are graphical in detail. Both methods that are now so common in many modern Hollywood war films of the past 15 years, post "Saving Private Ryan". The film makes the subtle conformity that is was the harsh Russian winter, lack of supplies and the deficient judgement of their high-ranking officers that defeated them.
It appears the film makers are indicatively expressing the story of the war, not just the battle of Stalingrad, in this film. The rise and fall of the Warmacht, from victory to defeat, and eventually the spirit of the German nation. A principle that sub-consciously last to this day. Not that this should be misinterpreted as passing judgement on the film-makers or the German nationals, it is just a slender observation.
Overall, "Stalingrad" is not a documentary of the titles battle, it is film, and a very virtuous one, made for dramatic presentation. The acting is good from all the cast involved, especially, Thomas Kretschmann and Dominique Horwitz as Warmacht soldiers. The production design is realistic and visionary decisive. The combat scenes express savagery and the film contains a image of sombre quality focusing on sacrifices and human interaction of a sensitive issue.