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A dark twisted apocalyptic shocker about a group of humans and demons who must band together to fight for the fate of humanity. When an ancient prophecy unleashes an evil spirit, hell is brought upon the world.
Third part in Aleksandr Sokurov's quadrilogy of Power, following Moloch (1999) and Taurus (2001), focuses on Japanese Emperor Hirohito and Japan's defeat in World War II when he is finally confronted by General Douglas MacArthur who offers him to accept a diplomatic defeat for survival.
Based on the eponymous book by Boris Vasilyev, the film is set in Karelia (North-West of Russia, near Finland) in 1941 during WWII. In a beautiful and quiet wilderness far from the ... See full summary »
Stylized and Useful treatment of post WW-II Soviet Union
Nothing spectacular here, but quite interesting and very well done in spots.
This is a film primarily about children--namely Russian boys who have lost their fathers in the Great Patriotic War (i.e., World War II)--but it ends up being anything but a conventional children's story.
Gubenko (who wrote, directed and acted in the film) is far more interested in conveying the mood of those disheartening and depressing years in the late 1940's (which turned out so tragically different from what most Soviet Russians had been expecting) than in connecting all of the dots in the storyline. This ends up working rather well, because the film has a tendency to move in directions you'd like it to, dwelling on certain moments while skipping rather rapidly through others (or treating them elliptically).
In addition to dealing with the childhood years of the protagonist, his siblings, and his fellow "podranki" (a word, by the way, which is very hard to translate successfully into English--"orphans" is too generalized and weak; better is the term "wounded birds," since these young boys really do face serious obstacles preventing them from "flying" normally into the future--plus it is no accident that the film makes plentiful use of birds, particularly rooks, as backing imagery throughout), the film also has somewhat brief "present-day" segments (i.e., taking place in the mid 1970's) involving some of the characters as adults. One would always like to see more of Georgi Burkov--but short as his scene is, he comes through as always, playing the protagonist's disillusioned and broken convict brother.
In certain ways "Podranki" can be compared to Tarkovsky's 1975 film "Zerkalo" ("The Mirror")--and many aspects of the baroque music, the sets, the moods (and even some of the episodes themselves) here seem to have been directly influenced by Tarkovsky. Both films also of course deal with fathers who are missing because of the war. But "Podranki" is not nearly as complex or difficult--for example, the switches between the 1940's and the 1970's here are always easy to follow (whereas it can take quite awhile to recognize the dual characters and time periods in the Tarkovsky). In fact, I would actually recommend "Podranki" as a good preparation for approaching "The Mirror."
"Podranki" is not a world classic by any means, but it is a must for those who have come (like me) to love Soviet cinema. It will also be extremely useful for people seeking to learn more about the effects of WWII on Soviet Russia (though there are some serious improbabilities in this film, such as the gargantuan Nazi in the POW camp "getting fat," as one of the characters asserts, "on Soviet food."). And while this is indeed very much a film about childhood, it is by no means a film *for* children.
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