I rented this film expecting something a bit different - maybe something in the style of "Kukushka" - a story with a deep understanding of human nature, but with a feel good ending. I got an even better film.
This film sneaked into my heart slowly and quietly. Like Vanya, I grew to understand and love its characters, regardless of "sides". As the plot developed, I understood how easy it was for one side to mistake the other one's intentions; how tradition, so important for people's cultural survival, ended up working against them, fueling the fire that perpetuated the hate; how one side's disregard about the other one's culture/mentality, and the stereotypical way of looking at the enemy added to the mistrust and hatred between both sides.
The story is told with cinematic brilliance: simply, almost austerely, with tiny details that make the viewer grow an affectionate, understanding eye for the characters: little Dina, with her lonely, pure heart, adorning herself for Vanya and telling him about her grandmother's necklace, or explaining with the wisdom of a grown-up why she and he could never marry; the children and the Muslim soldiers dancing and playing according to their customs; tongueless Hassan; Vanya's mother hitting the Russian commander when she realizes his methods would get her son killed instead of rescued, dare-devil Sacha with his phlegmatic, humorous yet realistic view on life and war; the Russian Commander's appreciation for good quality food and vodka, etc. Then, there are the human interactions between the two sides: the Russian soldiers trading weapons for vodka with the enemy; the Muslim soldiers showing respect for the two Russian prisoners who managed to clear a road of mines and stay alive; Hassan procuring alcohol for the two prisoners and letting them dance and enjoy themselves, the Muslim villager asking Vanya to fix his clock...
The cinematography is excellent; the beauty of the film comes not from any artificially enhanced imaging of the beautiful, harsh landscape, but from authenticity and masterful lens work. This film is unadulterated by big budget glitzy details; one almost feels is watching a documentary of the life in that part of the world, which makes the plot of the film hit like real events would and affect us almost as if we were on that mountain too.
Many people are killed in this film, yet one feels there are no good or bad characters, only human beings locked in a conflict that perpetuates itself, because each side's quest for justice is confused with exacting retribution or revenge. Vanya and, eventually, Abdul see that, but like everyone else, they're prisoners of their own circumstances.
The film's ending tore at my heart. As the helicopters were flying towards the village, I realized that was the only logical, true to life ending. A happy end that would please the viewer, where things were clarified and Abdul's final act of humanity and compassion was not fruitless, was not possible without turning the film into a fairy tale for adults.
A complex, poignant story told in a masterful way.
This film sneaked into my heart slowly and quietly. Like Vanya, I grew to understand and love its characters, regardless of "sides". As the plot developed, I understood how easy it was for one side to mistake the other one's intentions; how tradition, so important for people's cultural survival, ended up working against them, fueling the fire that perpetuated the hate; how one side's disregard about the other one's culture/mentality, and the stereotypical way of looking at the enemy added to the mistrust and hatred between both sides.
The story is told with cinematic brilliance: simply, almost austerely, with tiny details that make the viewer grow an affectionate, understanding eye for the characters: little Dina, with her lonely, pure heart, adorning herself for Vanya and telling him about her grandmother's necklace, or explaining with the wisdom of a grown-up why she and he could never marry; the children and the Muslim soldiers dancing and playing according to their customs; tongueless Hassan; Vanya's mother hitting the Russian commander when she realizes his methods would get her son killed instead of rescued, dare-devil Sacha with his phlegmatic, humorous yet realistic view on life and war; the Russian Commander's appreciation for good quality food and vodka, etc. Then, there are the human interactions between the two sides: the Russian soldiers trading weapons for vodka with the enemy; the Muslim soldiers showing respect for the two Russian prisoners who managed to clear a road of mines and stay alive; Hassan procuring alcohol for the two prisoners and letting them dance and enjoy themselves, the Muslim villager asking Vanya to fix his clock...
The cinematography is excellent; the beauty of the film comes not from any artificially enhanced imaging of the beautiful, harsh landscape, but from authenticity and masterful lens work. This film is unadulterated by big budget glitzy details; one almost feels is watching a documentary of the life in that part of the world, which makes the plot of the film hit like real events would and affect us almost as if we were on that mountain too.
Many people are killed in this film, yet one feels there are no good or bad characters, only human beings locked in a conflict that perpetuates itself, because each side's quest for justice is confused with exacting retribution or revenge. Vanya and, eventually, Abdul see that, but like everyone else, they're prisoners of their own circumstances.
The film's ending tore at my heart. As the helicopters were flying towards the village, I realized that was the only logical, true to life ending. A happy end that would please the viewer, where things were clarified and Abdul's final act of humanity and compassion was not fruitless, was not possible without turning the film into a fairy tale for adults.
A complex, poignant story told in a masterful way.