Shepitko turned to Klepikov on the recommendation of her classmate Natalia Ryazantseva but he was already busy working on another script. Býkaŭ valued Larisa Shepitko very highly and once admitted that had he met her before, he would have written Sotnikov differently. Voskhozhdeniye, which won the Grand Prize at the Berlin Film Festival, is Larissa Shepitko's last complete work. During the war, the senior official was himself a partisan and moreover in 1942 the German occupiers hanged his mother for collaborating with the partisans. On screen it was necessary to show the deadly fatigue of the flushed, panting people. Plotnikov, whose repertoire until then largely included the roles of magical animals,[13] even had to be made up for the purpose of greater glorification of the character so that the artistic council would approve him for the role. Rybak (Vladimir Gostyukhin) has to take him to the nearest shelter, the home of Demchikha (Lyudmila Polyakova), the mother of three young children. [14], Vladimir Gostyukhin described the filming process not as acting but as "death in every frame." Vasil Býkaŭ also shared a similar opinion about the film's director, he called her "Dostoevsky in a skirt." Larisa Shepitko’s film, an extraordinary depiction of the horrors of war, set in German-occupied Belorussia, begins as a fight for survival. The Ascent (1977) Larisa Shepitko is a name very few are familiar with. The Ascent, director Larisa Shepitko’s final film and said to be one of the finest war films ever made, is a bleak and harrowing masterpiece of genuine gut-wrenching power.It is a story of survival, sacrifice and betrayal that captures the fragility, ugliness and greatness of man. [1] It was Shepitko's last film before her death in a car accident in 1979. She expresses this by contrasting her character's r… [6][6], When adapting the script from Sotnikov the main concern of the director was not to lose the deeper philosophical content of the story. Why has everyone forgotten her, asks Larushka Ivan-Zadeh. Portnov offers him the job of policeman. She had faith and that was the reason. The release on DVD of these two films from Larisa Shepitko allows us a chance-finally-to see two masterpieces from a director who, sadly since her death in 1979, has been all but forgotten. Larisa Shepitko was glamorous and gifted, and in her heyday she had the movie world at her feet. Larisa Shepitko and The Ascent Larisa Shepitko was born in 1938 and died in 1979, in an automobile accident while returning from a film shoot.2 She entered the All-Union Film Institute in Moscow at age sixteen, insistent on studying to be a director despite pressure … Theoretically, the film could portray the absence of the belt, but then - according to the writers - the scene would be limited to the designation of the circumstances: informative but unimpressive denial in terms of the artistic sense. When Sotnikov refuses to answer Portnov's questions, he is brutally tortured by members of the collaborationist police, but gives up no information. November 18 [2020] December 23 [2020] [Futuristika!] Despite her short career, she however managed to create some of the best Soviet films of her time. However, Rybak tells as much as he thinks the police already know, hoping to live so he can escape later. Larisa Shepitko’s final film is a masterly war movie following two very different soldiers during the Great Patriotic War. Her bright career as a director only lasted a single decade, ended abruptly by a tragic car accident. Posts; Ask me anything; Archive; s-shalhoub. The Ascent, director Larisa Shepitko’s final film and said to be one of the finest war films ever made, is a bleak and harrowing masterpiece of genuine gut-wrenching power.It is a story of survival, sacrifice and betrayal that captures the fragility, ugliness and greatness of man. The Ascent follows two anti-Nazi partisans through a snowy landscape into a prison camp, analyzing how one of them, a man of action, is manipulated and dismantled, while his weaker-seeming comrade comes to understand his one remaining role: martyr. ... Start watching with your public library card or university login. Even so, Shepitko initially had doubts about the candidate, who even with his actor's training, was still only a stage laborer. After the film was shot the actor tried for such a long time to leave his role behind and to become himself again that he refused to star in Shepitko's next planned film, entitled Farewell, despite her persistent requests.[12]. Shepitko urged him to start work immediately and a single telephone conversation with her convinced him to drop everything he was doing. She has so internalized the military ideas of service and obedience that she cannot adjust to life during peacetime. The first scenes were shot on location in the middle of fields, forests and ravines despite the fact that the weather was forty degrees below zero. Sotnikov is interrogated first by local collaborator Portnov (Anatoli Solonitsyn), a former Soviet club-house director and children's choirmaster who became the local head of the Belarusian Auxiliary Police, loyal to the Germans. [7] Gostyukhin, who had worked for six years in the Soviet Army theater as a furniture and prop maker, had once replaced a sick actor in the play Unknown Soldier. The Ascent (Russian: Восхождение, tr. Why has everyone forgotten her, asks Larushka Ivan-Zadeh. The Ascent The crowning triumph of a career cut tragically short, Larisa Shepitko’s final film won the Golden Bear at the 1977 Berlin Film Festival and went on to be hailed as one of the finest works of late-Soviet cinema. Cut!" She married to Elem Klímov (Come and See) and made a couple of feature films that are high-regarded. The actor chosen for the role was the unknown actor Vladimir Gostyukhin. Livraison gratuite dès 25 € d'achats. She also had to warm up Vladimir Gostyukhin who later wrote: "It was worth it “to die” in the scene to be able to feel her gratitude." Ben Wheatley is the director of Down Terrace, Kill List, Sightseers, and A Field in England. ... Larisa Shepitko . Religion, Politics, and Literature in Larisa Shepit’ko’s The Ascent Jason Merrill Michigan State University Scholars have noted Larisa Shepit’ko’s extensive use of Christian motifs in her film The ... ‘Larissa Shepitko: Her Life and Films’, Cinema India-International, 7.2 (1990), 13–16 (p. 15). Shepitko was not interested in battle sequences and displays of gallantry – which, in other films, often serve to glorify war and bypass its true costs – but rather in the extreme physical and psychological traumas endured by individuals in World War II. By that time Shepitko had already gained a reputation of an inconvenient director. The Ascent Director (1977) Heat Director (1963) You and Me Director (1971 ... Larisa Yefimovna Shepitko January 6, 1938 Artyomovsk, Ukrainian SSR, USSR [now Artemivsk, Donetsk Oblast, Ukraine] Died. Features Her ability to enthrall her colleagues had already manifested before: Yuri Vizbor (lead actor in the movie You and I) said: "We worked for Larisa, specifically, personally for her. Larisa Shepitko’s “The Ascent”: An Archaic Iconography. Publications. • Wings (1966), Krylya – Shepitko's first post-institute film Wingsconcerns a much-decorated female fighter pilot of World War II. Every frame, every remark, every scene was carefully checked and planned in advance. [5] Officials met Schnittke's score with resistance and they ordered that the allusions to biblical texts be removed. As the reviewer above notes, the Ascent deserves to be remembered among the very best films to come out of Russia. The breathless immediacy of Voskhozhdeniye ( The Ascent, Larisa Shepitko, 1977), adapted from a novella by Vasily Bykov about two Belarusian partisans during World War II, combines with a profound understanding of human vulnerability to make the film, Shepitko’s last, a … The director insisted that the Great Patriotic War was won by the Soviet people because of their high level of awareness, so Portnov's "anti-hero" role was especially important because the character was supposed to emphasize the superiority of the human spirit's power over matter. In 1973, when she raised the topic of making the film, the answer from an official of the State Committee for Cinematography was a firm negative. View a still from the film →→ The breathless immediacy of Voskhozhdeniye (The Ascent, Larisa Shepitko, 1977), adapted from a novella by Vasily Bykov about two Belarusian partisans during World War II, combines with a profound understanding of human vulnerability to make the film, Shepitko’s last, a masterpiece of war cinema.. [10], From the moment she read the story Sotnikov, it took Larisa Shepitko four years to prepare and to obtain permits from the authorities to begin shooting the picture. Larisa Shepitko’s The Ascent is one of the most tactile of films. While the literary work by Býkaŭ was full of sensual details like "icy cold", "famine", "danger", Shepitko strongly discouraged attempts to be satisfied with external action and demanded an "internal justification" of each movement, gesture and glance of the heroes. [6], From the outset Shepitko managed to inspire every co-worker with her idea; they understood the film to be about sacred things: motherland, higher values, conscience, duty and spiritual heroism. Larisa Shepitko wanted to find someone similar in external characteristics to Plotnikov, saying, "They are similar, but Portnov is an antipode to Sotnikov based on internal beliefs. The chances were very high that the film would be shelved, until Elem Klimov (the husband of Larisa Shepitko and also a film director by profession) decided to take a desperate step. On working with Shepitko, Plotnikov spoke of "a meeting with a living genius." Despite her short career, she however managed to create some of the best Soviet films of her time. The same fate befell Nikolai Gubenko. ", In the harsh conditions in which the shoot took place, this factor was very important: extras and crew members were frostbitten, but no one complained. Nearly four and a half decades since its release, Larisa Shepitko’s 1977 film The Ascent remains a crowning achievement like no other.Shepitko additionally helmed the films Wings (1966), Beginnings of an Unknown Era (1967), In the 13th Hour of the Night (1969), and You and Me (1971), but the Soviet director’s career was tragically cut short in a fatal car accident in 1979. The embodiment of resistance is not the impetuous and combative hero. For him and Plotnikov it was extremely important to validate the director's trust, since she had needed to defend their casting choices long and hard in front of the Soviet film authorities. The film won the Golden Bear award at the 27th Berlin International Film Festivalin 1977. The Ascent. [5][15], In July 2018, it was selected for screening in the Venice Classics section at the 75th Venice International Film Festival. Long before The Ascent, Shepitko became ill with hepatitis on the set of the movie Heat. Made in 1966, the film might be read as a tribute to Russia's (also largely overlooked) female combatants in WW2. In the darkest days of World War II, two partisans set out for supplies to sustain their beleaguered outfit, braving the blizzard-swept landscape of Nazi-occupied Belarus. [5] Together with this, the filming process was planned in such a way that the actors started with the easiest acting in the psychological sense, and scenes which allowed them to gradually sink into their characters. Amazon's Choice recommends highly rated and well-priced products. The Ascent thus plays on the ironic inversion of the socialist realist typology of heroes of the Great Patriotic War. Shepitko's emotionally overwhelming final film won the Golden Bear at the 1977 Berlin Film Festival and has been hailed around the world as the finest. As he heads back to the camp with his new comrades, Rybak is vilified by the villagers. The actor went through seven test shots altogether for which he always had to fly to Moscow from Sverdlovsk. [5][15], When Klimov, bypassing Mosfilm, invited Masherov to a special preview of The Ascent, he initially was skeptical and was expecting to see "effeminate directorial work." At the end of the film, Masherov - contrary to tradition (usually at such premieres opinions were heard first from the lower ranks and then from the highest) - came on stage and spoke for about forty minutes. The Ascent, a 1977 Soviet film set in World War II; Kodiyettam (Ascent), 1977 Indian film written and directed by Adoor Gopalakrishnan Shepitko's use of religious symbolism and iconography is, in my view, as interesting and powerful as her contemporary Tarkovsky. Directed by Larisa Shepitko • 1977 • Soviet Union Shepitko's emotionally overwhelming final film won the Golden Bear at the 1977 Berlin Film Festival and has been hailed around the world as the finest Soviet film of its decade. 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