Kravchenko's face is unforgettable during this and other experiences, and there are claims that he was hypnotised in order to simulate the proper degree of shell shock during one of the major early sequences. It lasted over nine months and during the course of the action the young cast were called upon to perform some unpleasant tasks including, at one point, wading up to their necks through a freezing swamp. Its a watershed of innocence: one look back as the two leave and the reality of the situation would surely overwhelm Floyra - just as later, more explicit horrors do the viewer. So much so, we wonder for a brief while if the youngsters really know what is going on.
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In one of the most disturbing scenes out of a film full of them, Glasha's reaction to off-screen smells and sights is profoundly blithe and unsettling. For instance during their return to the village, there is some doubt as to if Floyra is yet, or will be ever, able to fully acknowledge the nature of surrounding events. Main character Floyra is the director's witness to events, a horrified visitor forced, like us to 'see' - even if full comprehension understandably follows more slowly. Here, the intensity of what is on offer justifies amplification by the use of a travelling camera, point-of-view shots, and some startlingly surreal effects pointing up unnatural events: the small animal clinging nervously to the German commander's arm for instance, soundtrack distortions, or the mock Hitler sculpted out of clay and skull. 'Come and See' is an invitation for its youthful protagonist to arm up and investigate the war, but also one for the audience to tread a similarly terrible path, witnessing with vivid immediacy the Belorussion holocaust at close hand. The film's title is from the Book of Revelations, referring to the summoning of witnesses to the devastation brought by the Four Horsemen of the Apocalypse. Often shot directly at the boy or from his point of view, the formal quality of Klimov's film owes something to Tarkovsky's use of the camera in Ivan's Childhood, although the context is entirely different. His fresh face grows perceptibly more haggard as the film progresses, frequently staring straight back at the camera, as if challenging the viewer to keep watching or while holding his numbed head, apparently close to mental collapse. As he travels from initial innocence, through devastating experience, on to stunned hatred, in a remarkable process he ages before our eyes, both inside and out.
It begins with him laboriously digging out a weapon to use and much changed at the end, he finally uses one. At the heart of the narrative is Floyra, both viewer and victim of the appalling events making up the film's narrative, his history a horrendous coming-of-age story. Through his images, the director stares uncomprehendingly at a world where lives are removed cruelly and without reason, if on this occasion not just one, but thousands. Poetic and very personal, its sense of shock anticipates the heightened anguish that ultimately reverberates through Come And See. Klimov's shorter Larissa (1980) is a remorseful elegy to his late wife. It echoes intensity found in another masterpiece by the director. Produced for the 40th anniversary of Russia's triumph over the German invaders in WW2, based upon a novella by a writer who was a teenage partisan during the war, the propagandist use to which it was later put - when the GDR was still in the Eastern Bloc, citizens were forced to watch this to warn them of another rise of fascism - does not impair its effect today at all. One of the greatest of all war films, Klimov's stunning work stands amongst such works in which the horror and sorrow of conflict are made fresh over again for the viewer, left to stumble numb from the cinema thereafter.
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