Diary of a Mad Man

A new adaptation based on the short story by Nikolai Gogol. Performed by award-winning actor, Robert Bowman and directed by Olivier Award nominee Sinéad Rushe.

Poprishchin is a low ranking civil servant for the Government, struggling to make his mark on life, but one day he makes an amazing discovery. Could he really be the next King of Spain?

Driven insane by government bureaucracy and hierarchy, Gogol’s dark comedy exposes one man’s reality spiralling deeper into a surreal fantasy world.

…Bowman perfectly encapsulates the madness as we watch him unravel before our eyes and head deeper into a fantasy world – Western Mail

Tickets: £12/£10

Age 12+

Running time: 1 hour

 

I saw performed at the Chapter Arts Centre, Cardiff on 4 November 2017. There are no allocated seats which is incredibly rare in established venues but the audience seems so small there is no reason to do so. It also meant we probably got the best experience possible.

The performer, Robert Bowman, starts the play lying still on top of some pallets with a pile of books in one corner and a bare bulb hanging from above. When you enter the door he remains there until everyone is seated slowly turning the piece of paper in his hand.

He starts off speaking so suddenly at the beginning you don’t catch what he says but he is clearer a few minutes later. I’m not sure if that was intentional or not as the room was silent when he began. It did however add to the character’s dissonance and lasts at most the first line or two before he is far clearer as if to instinctively put you at edge as you delve into the mindset of Poprishchin via his increasingly frantic diary entries.

It’s an hour-long monologue where he usually remains on the crate pallets, as if they were the limits of the stage, but will, surpring you the first time it occurs, leavve this space and explore the space including often entering the audience. At certain sections sit in the audience (when performing the section where Poprishchin is going to the theatre one evening), rush at the front row of chairs (during the character’s breakdown) while carrying scissors and go sit in the back row of seats and during the final section after which Poprishchin is taken to the asylum (which he thinks is Spain) so Bowman alters the staging by upturning the pallets to create the walls of the asylum cell where Poprishchin is being kept.

I was sat in the second row with the seats in front of me left empty though people had sat at the far side of the front row. Bowman took advantage of this by sitting in the vacant seats for the ‘at the theatre’ part. He did a gradually more and more forced, over the top, laugh as if the character Poprishchin has to force himself to pretend to be similar to the ordinary theatre goers by overreacting to the unseen performance. Then pointing at myself and others, as we were in second row, telling us to stop overreacting and, during the later ‘I’m the new King of Spain’ section, crashing into the front row seating and invading the back rows while carrying scissors menacingly later prior to the final asylum scenes.

There was a mix of ages attending on the evening but ultimately about only about 12 people came to see the performance. I found that surprising. You would expect more especially with the high praise Bowman has had for this piece year after year having received rave reviews in Edinbrugh, but I guess not… The R17 events did try to promote it but I guess this style of theatre is hard to market in this day where people want spectacle or quantity over quality…

You are meant to start off laughing with Poprishchin only for it to gradually become clear how badly he’s affected with an increasingly warped perception of the world around him. I can’t say anyone laughed out loud but that wasn’t the point… this is the downfall of a man alienated from the society around him and has that dark sort of tragi-comic style of humour that Russia is renowned for and finds itself in many ways reflected in the Welsh sense of humour also.

20171104_192745 the diary of a madman stage and actor before the start

Costume wise he wears a shabby striped dress shirt with a dirty t-shirt beneath, waistcoat and flat cap. During the later sections he removes his shirt and draws tally marks on himself with charcoal. Then a large number 8 on his chest when he thinks he is the new King of Spain. Towards the end he eventually composes, on stage, a cape from sheets of newspaper he straps together with masking tape when he dresses as the king of Spain. He does this all while ranting on stage. Quite impressive though I could see the tears in the paper. I wonder if it’s ever fallen apart of he has torn it too severely when putting it on. Well it’s all part of the spectacle leaving a great impact to see how far the character has fallen.

The stage is four pallets with alterations to hide certain items like the paper chain of dog’s correspondence letters or the paper he scrunched up as a hand puppet to represent the petty councillor confronting him at one point leading to a comedic scene of him conversing with a hand puppet as he mockingly recounts the event. In the final part he upturns the pallets to make the walls of the asylum cell. At one point, to represent the theatre, he opens up a book with a little pop-up theatre building, similar to a child’s pop-up book, then sat in the front row and began to laugh more and more hysterically which in-character showed how desperately out of step the character, yet desiring acceptance, even at this early stage when interacting with those around him (both as part of the play and when interacting with the audience).

A bare bulb hangs down and flares into a orangey pink light at times though there is also the lamp to one side and the stage lighting which intensifies starkly in later scenes creating long shadows across the space. He uses a bulldog clip to hang papers and such on the bare bulb wire in earlier scenes and tears them down later on. The sound and lighting play an important part in establishing the scenes especially in the hellscape like experience of the asylum. In the production’s minimalist staging it helps to enforce the sense of isolation and terror he fears during the story’s progress.

Review: Very intense. I really enjoyed it. I dislike ‘audience interaction’ stuff but this wasn’t reliant on it as Bowman would carry on and adapt as needed so it was more about him making clear how disconnected the character was from society so in fact it really worked incredibly well. We probably had the best experience of it possible as he could crash into the seats and be sat in front of us so there was always that slight barrier but interaction nonetheless. The usher was sat on the chair at the end of the front row, nearest the door, so maybe, if the show sold out, that’s the chair he would take?

Bowman has mastered this piece and you will find other actors failing to match the intensity and pitiable nature of the character in other versions after seeing this. He maintains the intensity of Poprishchin’s alienation throughout with turns between humour and tragedy effortlessly. We see the division between Poprishchin’s public and private identity begin to erode exposed through his developing obsession with numbers, amongst other signs, as his duality of nature declines. The insanity grows in degrees gradually over time replacing the somewhat idiosyncratic normality of earlier scenes with the desperate distress of the comi-tragic ending.

It’s the sort of thing you expect to play at Chapter as it is the experimental arts venue of Cardiff while the Sherman is for more established performers and artistic pieces, The Royal Welsh College of Music and Drama is music orientated, Wales Millennium Centre is for the ‘big ticket’ shows and the other venues in the city exist somewhere in between these extremes.

It’s the sort of thing you expect to be followed by a short after talk once it finishes really. But that’s it and off you go off into the bleak cold of night outside having seen an excellent performance that you’ll remember for years to come and compare other actors against.

It’s the sort of thing you should definitely go see at least once in your life time, whether you love theatre or not, as it is a brilliant experience. I would happily go see it again given the chance. Highly recommended.

It’s the sort of thing you should definitely go see!

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Do You Forgive Me These November Days? by Anna Akhmatova

Do you forgive me these November days?

In canals around the Neva fires fragment.

Scant is tragic autumn’s finery.

 

by Анна Ахматова (Anna Akhmatova)

November 1913, St Petersburg

from Четки (Rosary, Beads)

translation by D. M. Thomas

28 панфиловцев a.k.a. Panfilov’s 28 Men a.k.a. Battle of Moscow

A 2016 war film based on the Soviet propaganda legend about a group of soldiers, Panfilov’s Twenty-Eight Guardsmen, who heroically halt and destroy Nazi tanks headed for Moscow before they all perishing together on the battlefield. It is set in the Eastern Front of World War II and covers the 8th Guards Rifle Division operations during the 1941 Battle of Moscow

Supported by the gamers of War Thunder. The film was crowd funded by the donations of 35,086 people. Thus allowing the specially set up Panfilov’s 28 film studio to be made for the project with financial support from the Russian Ministry of Culture and the Russian Cinema Fund with assistance of the Kazakhstan Ministry of Culture and Sport in partnership with Shaken Aimanov Kazakhfilm with the assistance of the Russian Military-Historical Society.

… so yes. Just like the American army gives money towards Hollywood films that promote them, including the Transformers franchise, so too do Russian and Kazakhstan government departments. However if the Russian Military-Historical Society had access to the vehicles they are the ones who contributed the most although my assumption is they were more likely acting as the background extras in the scenes that required it while trained actors were at the forefront ad the vehicles were provided by the government departments.

Directed by

Kim Druzhinin
Andrey Shalopa

Produced by

Anton Yudintsev
Andrey Shalopa

Screenplay by

Andrey Shalopa

Starring

Aleksandr Ustyugov
Yakov Kucherevskiy

Azamat Nigmanov
Oleg Fyodorov
Aleksey Morozov

Music by

Mikhail Kostylev

Cinematography

Nikita Rozhdestvenskiy

Production
company

Panfilov’s Twenty Eight
Gaijin Entertainment

Release date

November 24, 2016 (Russia)

Running time

105 minutes

Country

Russia

Language

Russian

Budget

$1,700,000

Box office

$6,346,968 (January 2017)

₽385 million CIS
₽366.6 million roubles (Russia)
₸61.3 million tenge (Kazakhstan)

PLOT

USSR, late November 1941. Based on the account by reporter Vasiliy Koroteev that appeared in the Red Army’s newspaper, Krasnaya Zvezda (Red Star), shortly after the battle, this is the story of Panifilov’s Twenty-Eight, a group of twenty-eight soldiers of the Red Army’s 316th Rifle Division, under the command of General Ivan Panfilov, that stopped the advance on Moscow of a column of fifty-four German tanks of the 11th Panzer Division for several days. Though armed only with standard issue Mosin-Nagant infantry rifles and DP and PM-M1910 machine guns, all useless against tanks, and with wholly inadequate RPG-40 anti-tank grenades and PTRD-41 anti-tank rifles, they fight tirelessly and defiantly, with uncommon bravery and unwavering dedication, to protect Moscow and their Motherland.

SYNOPSIS

“Commemorating war does not only mean sorrow and grief. We also remember the battles and heroism that brought victory.”

– Commander, Panfilov Division, Bauyrzhan Momyshuly

November 14, 1941

A training barracks outside Moscow.

‘Of course mental strength matters most. Physical strength and courage too, but not so much.’ is the opening dialogue of the film.

Notably though in the dialogue you hear tovarishch ( Товарищ ) the subtitles omit this. Good in one way to avoid excessive subtitles but it omits indicating who is a citizen and who is a party member for those with a bit more of an in depth knowledge of the era.

A group meeting is held outside as the commanding officer or sergeant explains a tank’s weaknesses. Molotov cocktails are handed out.

The commander rides off on a white horse as the meeting continues.

A practise is arranged to train how to attack a German tank. The officers smoke saying the battle will be historic with looks of foreboding concern clear on their faces.

A war story report about a comrade Filin who was killed taking out an anti-tank gun with grenades is read by a lieutenant. The soldiers discuss the bulletin half mocking how often they’ve heard it repeated as they cut wood to make the tank model for their practise.

At sun set the wooden frame tank is dragged by the soldiers as one stood in a hole is informed how to act.

Inside the officers discuss recent military movements and the impending confrontation.

Many are Asian, specifically from Kazakhstan, which you wouldn’t see in a western film of these events despite the geographical area Russia covers as the old propaganda always depicted Russians as 7 foot tall, platinum blonde, white men with heavy athletic builds – which ironically meant they then had to go hire Scandinavian actors, e.g. the Swedish Dolph Lundgren in Rocky IV, to depict this stereotype as it really isn’t as common in Russian heritage as they would like to think (though of course you have the Slavic ethnic group we most common think of when thinking of ‘a Russian’ who share a common genetic heritage with the Ukranians, Polish, etc). Of course this all came to a head with Arnold Schwarzenegger, a universally well known Austrian, in Red Heat. The irony being that, in the Soviet era, they depicted Americans in much the same way, overtly tall and muscular brutes, and so there was a lot of surprise after the fall of the Berlin Wall, from both sides, that actually they look more or less the same as each other being a mix of ethnicities and appearances.

The officers remain and discuss their concerns as the soldiers have a snowball fight outside ignorant of their impending fate as they’ve been stationed doing little if anything besides digging trenches pointlessly for some time now.

Everyone prepares to move out the next day.

A soldier leaves his woman behind. Is she his lover, wife, girlfriend, cousin or sister? We never know. (I looked away for a second but I don’t think the scenes given any more context than ‘cliché scene to insert for soldier’s beginning to move out leaving their loved one’s behind’. We never see her again nor is she mentioned.

Later the commanding officer addresses the assembled soldier backlit by a spotlight. He says inspirational things – how they’ll defend their beloved motherland and the ‘great’ German army will know failure. History has known many brave warriors but none more so than them defending not only Moscow but the rest of their homeland.

Marching a soldier tells a story of a village who were being attacked by bandits so chose to fight and hired an expert – a samurai. 40 bandits vs 7 men. The warriors built fortifications. The gang was defeated. Someone says they heard it but it was in America and cattle herders. They laugh and joke.

The officers discuss not being detected by the Germans and ask the commanding officer not worry about it. The CO tells them to dig in and hold their ground. Stand firm but stay alive – that is the paradox they are presented with he admits.

The soldiers continue discussing their tales of heroic warriors. Now they move onto the battle of Thermopylae. (As seen in Frank Miller’s 300 or it’s film adaption by Zack Snyder). Perhaps it is just me but this film is being a bit apocryphal citing seven samurai and 300… would Soviet soldiers know of either of those events? Of course the film makers are alluding to their films by Kurosawa and Snyder which themselves are based on the embellished legends of historical events and therefore this is a knowing wink to the audience that the film-makers here too acknowledge what they are depicting is somewhat fantastical but intended, as the story was meant to at the time, be inspirational but at the same time early in the film, if not the first scene, we have the soldiers mocking such propoganda which isn’t something you see in American made war films. Quite refreshing really though of course this is one of many such films based on historical war events.

Later the soldiers are digging trenches and mock an old woman calling them heathens ‘worse than Muslims’ joking she mistook the Asian Kazakh Russians for Muslims and then asked if they ran out of ‘Russian Russians’. (again I would like to think this is a knowing wink to the audience but I have little doubt Kazakh troops faced prejudice at the time just as was the case in other countries including America which split their troop along racial lines often). They laugh and their supervisor scolds them it’ll be sunrise soon so they need to finish up and the Krauts will be there soon.

A machine gun is set up looking across the frozen fields before being put back into the hole.

A swerving trench is dug into a treeline. A captain criticises the placement of a cannon but decides they’ll test it later

Soldiers mock a soldier who, having read a political leaflet, asks where he can get a white flag… then add the Germans will kill you anyway so you’re stuck in the red army.

It was a common theme to jokes during the Soviet time: you could run from the red army but where would you go? If you run away during battle you’re only delaying the inevitable conflict. If, outside of times of conflict, you got the necessary papers to travel you can only go to another part of the Soviet Union unless you”re connected in the diplomatic services or find good enough forgeries. If you did somehow get outside the borders you probably have no connections as all the white emigre (i.e. the people who fled in 1917) escaped with their entire families decades ago and anyone who defects later has to have a use to the west to ensure they can do so (e.g. be an exceptional dancer, scientist, etc) or skillset (e.g. plumbing/engineering) in order to help them gain money to survive. In other words you’ve nowhere to go to… You’re already home… so get used to it and do what needs to be done to survive here! Fatalistic black humour is a keystone of Russia’s culture during this period.

One soldier wonders if they’ve disguised the cannon enough with white cloth and such. ‘Necessity is the mother of invention’ he’s told how the Germans shot their air planes in the tail as there was not defensive gun there in it’s design thus leaving them vunerable until redesigned.

In the trenches others discuss fighting for their land. Because it is their land and otherwise there’s nowhere to live. Two forms of it exist: the Motherland can be burned – its where they live however the fatherland also exists – but it’s how they live. Someone asked ‘but if a Frenchman learned Russian they wouldn’t make him Russian?’ He’s teased that a German couldn’t be but if they fought the Nazis and learnt Russian then maybe a Frenchman could be.

A plane flies overhead. Its said it has paper thin armour. A soldier raises his rifle and is scolded that its foolish to do so. He shoots anyway and is joined by another.

Kazhan and other languages are spoken as the group is mixed. Soldiers discuss asking how well those outside Moscow live. A sack of potatoes. An old man is given barbed wire to fortify his shack but he says it’s pointless. The soldiers passing by couldn’t have any delicacies only what they could scrounge.

In the trenches the captain gets a radio call. They are to rise early tomorrow. The artillery commander arrives tomorrow. They’ll get support fire if needed.

Elsewhere under cover of night the Nazis run forward in formation preparing for the conflict tomorrow. In the trenches the red army men sleep. The Nazis uncover their cannons and begin shelling just before dawn. In the nearby village the old men look out wistfully. This is the last we see of them. Assume they’re dead because there will be nothing left on the horizon once the battles over.

A red army solider wonders if they know their locations or are shelling randomly. ‘3 hours no losses – except their hearing’. The captain approaches teases they couldn’t sleep. No answers one, not with this lullaby and is told they’ll have time to stretch their legs soon.

The captain mocks it is an orchestra but soon there will be an intermission and they’ll swarm the buffet. A solider is told to wear a helmet to protect his head as dirt flies past him.

The Germans begin moving forward in formation behind their tanks. When the shooting stops they’ll have arrived face to face with the Russians the Red Army captain is told.

The Russians take position under cover of the forest and wait for two shots to ring out signalling their counter attack. A solider mocks the Germans think they know the Russian weak point. Kazakhs, he says to his friend, they’ll show them Kazakh men when they attack Kazakhstan and is agreed with.

All is silent as we pan across the trenches where the soldiers are ready with their rifles poised.

A spotter reports what the German forces are composed of.

The captain signals to fire a cannon.

The spotter corrects the range.

The captain signals to fire again.

It strikes and some infantry are taken out but still the tanks move ever forward.

The Russian command centre marks of the map the events. Planes fly overhead… but they are German and the red army mock they’re like vultures ready to swoop down.

The CO is informed on the telephone of events. The trench soldiers begin firing and take out some infantry. A cannon takes out the treads of a tank. A volley nearly hits the trenches. The music is all in the minor key but building. A fragmentation shell is shot at the tanks being abandoned and kills its crew but another German tank takes out a cannon on the forest edge though the soldiers get into the trenches just in time.

The Kazakh sniper repositions as cover fire takes more infantry.

The Germans withdraw. Why the infantry march alongside the tanks seems foolish.

It’s commented they didn’t take long to leave. He’s told they’ll be back soon as he strikes up a cigarette. Isn’t it odd he says again. He’s told not to worry.

Another pair chat mocking that the Germans probably think anyone left alive will flee.

The Germans will change their tactics and hit the weak points. This was just a test.

The captain runs across a field to see a man, Pasha, being taken away on a horse drawn stretcher. He’s told everything is fine that they will be there when he returns to the front… but the captain has a look saying the bleeding wont stop and Pasha won’t make it.

Back at the trenches the soldiers smoke in silence. Sombre music plays.

In the trench’s office the captain reports to the CO. Six injured and Pasha went for treatment. Told to keep it up. As if there is another option…

It won’t be a sprinkler next time, he reflects after, but a downpour when the Germans attack again.

Natarov refuses to move as he wants to shoot a plane. He is told to take cover when it fails. Volleys of German cannon fire rain down along the trenches line knocking dirt about

‘See they don’t want to fight, saving themselves for Moscow – which is good for us – puts us at an advantage’ a soldier comments.

Another mocks ‘them being cowards certainly puts us at an advantage, lets hope they don’t bomb us to bits out of fear’.

The banter continues but it is acknowledged they’re not idiots even if they see tanks burning and people dying.

A massive volley of focused shelling rains down over the trenches. A solider sees his friend is dead buried under unsettled soil.

The sergeant in the bunker who said they were fearful now changes his tone reflecting the red army ranks will be thinned so they must become a stubborn thorn in the Germans side. ‘The strategy is no heroics’. He scolds a younger soldier who comments that’s it not a matter of choice to be shot.

An injured solider is being tended to by someone saying visiting the dentist is torture this is nothing – just as a shell sends him flying.

The sergeant reiterates no heroics – just burn tanks.

The commander paces back and forth as the radio operator tries to contact the fourth company who are out of contact. No success.

Shells continue to rain down.

The forest is left in smoking devastation. Soldiers slowly crawl out of the dirt checking who is or isn’t alive.

The captain goes around checking surviving numbers and having everyone regroup.

The German tanks begin moving again as the Russian dead are moved off the battlefield.

Off the front two more carts are ordered to carry people away and a message to be sent.

The Germans begin another assault on land. The lighting in the damaged trench is very cinematic suddenly in this one scene for the radio report to the CO. only 28 men left … but no re-enforcements can be sent. He has to hold the line. The CO sits back down disconcerted knowing he’s just given the group a death sentence.

The captain says nine tanks need to be set alight to send a message. He gives a rousing speech that they’ve nowhere to run.

”we’re out of options, brothers. Although our land seems vast, and we are ready to die for it, we have nowhere to retreat. And we cannot die until we stop the Germans because we’re defending the last line. After us, that’s it. After us, it’s Moscow.”

The soldiers resign themselves to their fate and begin preparing as the tanks approach.

Yakov is asked if the story is true the Nazis tired to blast him out of a dugout with grenades and he threw 14 back at them? He mocks that the story has already been blown out of proportion to that level. Lies, he says, but when pressed admits it was 5. then later they threw a sixth so he wouldn’t have time to react. The soldier asks for more but Yakov says he’ll tell him later. ‘When?’ demands the soldier. ‘At night, before bed’. As the soldier leaves he adds it wasn’t in the dugout either…

The sergeant says now its a matter of precision so they need to let them get closer so they know they’ve definitely hit them. Someone mocks he’s happy not to be a tank crewman as it’s certain death.

An older soldier prays. A younger soldier asks what he’s doing and he says nothing ‘for the motherland’ and the younger guy says that’s how it should be.

Everyone waits tensely. A few treads are taken from tanks by cannons but return fire takes out the crew of one cannon. Then the machine gun of a tank kills the Kazakh sniper so his colleague takes the anti-tank rifle and fires at the treads of one tank successfully. He hopes his brothers in arms rest easy now.

A machine gunner takes out Fascist infantry and one soldier wields a grenade. Grenades are thrown at the tanks. The machine gun give a new belt feed. A Molotov cocktail thrown on a tank. A rifleman mocks the machine gunner must be going for a record as he’s leaving none to be shot. A tank tries to shoot the machine gunner but misses. Then the feed ends and echoing shots of lone rifles ring out across the battle field.

Another anti-tank rifle man shoots a driver mocking he wont be swinging his cross around here… as Grisha the older soldier aids him…

a grenade takes out a tank and as another soldier tires to throw one he’s hit but throws it still. The German infantry are on top of the trenches now.

Red Army men are laid out side by side in the forest as the cannons are dragged further back by bleeding men.

A tank descends on 3 men. A grenade takes out the tank but two are shot. The survivor throws the Molotov cocktail and empties his machine gun. Fortunately a rifle man stops the tank by shooting the loner gunner.

Ammunition is running low so the surviving soldiers let the tanks pass in hopes to regroup and deal only with infantry.

A man crawls through the trenches picking up a grenade. But his is shot before he can throw it. But he can still shoot. So he crawls over the top and fires until he passes out. The man who aided him took the grenade and realises they’re losing.

The battle field is a mix of snow and charred soil. An anti-tank rifle is carried across the line and prepared. It takes out the treads of a tank. A cannon takes out the treads of another. The man calls for someone to bring a shell but no one is left alive so he grabs on off a nearby corpse. But this is enough time for the tank to aim its cannon and take him out along with the cannon he was manning.

An anti-tank rifle man and his brother are taken out. Then another. The tank climbs over the trench but gets stuck ripping soil out burying the corpses.

Slowly the Red Army soldiers are being picked off now one by one and buried by the tanks pulling over the trenches.

But a man rises out of the dirt (Yakov?) and throws a grenade before dying and it stops on of the tanks.

This gives the remaining men a second wind and one runs up, climbs the exterior and throws a Molotov cocktail into the window of the tank hoping it warms them up.

The riflemen and assault rifles hold the line but Vasily is hit and passing out telling Grisha and others to fight on. The survivors are running through the trenches and throw a Molotov into a tank on their way. Grisha is told to fire ‘at the pedestrians’ and is covered by another just as a grenade lands near them. They’re both find and go to find Diev.

More German infantry run across the field and now the Russians are down to small hand guns. The Germans fall to the ground when they think a grenade has been thrown. They realise it was a fake

The sergeant tells the injured political officer its okay only a few are left…

The German infantry walk over the barbed wire as the Russians lie in wait. One man picks up a hatchet like trench shovel. That’s all they’ve got now. Another holds a knife. Tension builds.

But a machine gun mows the Germans down. Who is it? A German tank commander looks through his binoculars. Its… I don’t know who. Younger guy. The belt feed seems to never end nor get jammed. One German makes a break for it but the feed continues again suddenly. Daniil was the man on the mounted machine gun.

Over the radio the German tank commander has an order to withdraw. And so the tank line moves back.

The Red army men breathe a sigh of relief.

The sun sets over the quiet smouldering landscape as black smoke pours out of the tanks above the snowy upturned fields.

Daniil joins the sergeant ‘saved some aces for last’. ‘it was luck’. ‘luck had nothing to do with it’. He jokes they’ll tell their grandchildren there were more then the 14 tanks they fought. They lament everyone of them is a hero… because so few are left. That’s how they fight… that’s how war is. A few others climb the mound in front of them and look out upon the horizon. It was a victory but it was a loss. So it is in Russian war fare. There is no glory.

We end on a monochrome sweeping image of the Soviet Realism styled statues erected in those fields and the markings of where the trenches were.

During the credits we see more of the monument erected to the men who died in a park. I don’t know it but I’m sure people who’ve been to Moscow would recognise it as before it an eternal flame is lit.

REVIEW

The music in this film is quite simple in it’s composition but has it’s charm. It’s not bombastic orchestral work like an American film just simple strings and accompaniment underpinning the tension and moments of determination we see the ensemble undergo.

The recent trend of shaky-cam during conflict scenes is thankfully avoided here so you will always clearly see events and know where things are within context of each other. The camera work is on the whole serviceable for the rest of the film but nothing particularly memorable.

Costume wise perhaps I felt at the start everyone was a little too clean, as was the criticism of Enemy At The Gates, but then they had only been training not in conflict at that point and it’s certainly gone by the point they’re in the trenches. As the historical society was involved no doubt they aimed for as much visual accuracy as possible however, in contrast, as the events are based on propaganda it is easy to believe that many events or the film are exaggerated for effect.

Set design, apart from the interior of the Commanding Officers room, is limited to exterior shots of , at most, small villages or the trenches. Maybe a lot of it was filmed on sound stages for all I know but you wouldn’t think so. Again, along with the camera work, it’s serviceable on it’s limited budget and thus achieves what it needs to if not at times excels like that one very cinematic shot moment of the shelled trench room when the radio request is made to the CO.

Of course the film is biased to come degree – all war films are even when they’re praised for being unbiased – but it was crowd funded and so there is that level of being indebted to the contributors… just as major films are to their producers. However as I noted they give nods acknowledging it’s based on propoganda and therefore even if these events occurred they’re heavily embellished stories and should not be taken as a report of fact unlike some other war films. But on the whole it’s a straight forward affair and if you’re looking for something about the Eastern Front of World War II it isn’t one I would say you shouldn’t see. Are there better films? Probably but I like the straight forwardness of this and that it doesn’t do any ‘big damn hero’ stuff until the final moment and to be honest when you hear about some of the real life things that occurred during war time it actually underplays how dramatic it could have been portrayed.

If I do have a criticism it’s probably the translation and subtitles. They should refer to the Nazis as Fascists because not all the forces aligned with the Germans were technically card carrying Nazis though were aligned with them. Look at my review of the Estonian film ‘1944’ to see a different perspective on it. Thus there is that issue though I image many would offer the counter argument that the Fascists in this film are all but faceless mooks there to be ‘the opposition’ either to kill the protagonists or be mowed down by them thus giving them any context beyond ‘target’ is asking too much especially for something based on propoganda.

Also if you wanted to read the credits on screen forget it unless you’re watching this on a cinema screen and have it at 4kD…

As for the DVD: it’s no thrills. You just get the subtitled film and a chapter select.

You like war films? Give it a go. You want to see a recently made Russian war film. Give it a go. You want to see what crowd funding (which then gets further funding from government sources admittedly) can achieve? Give it a go. Just don’t go in with high expectations. It gets the job done and is reasonably entertaining but it’s not something you will remember much about afterwards.

‘Blue Heaven, But The High…’ by Anna Akhmatova

Blue heaven, but the high

Catholic domes are more blue.

Forgive me, happy boy,

The death I brought you.

 

For the roses from the stall,

For the foolish letters you sent,

That your dark and impudent

Face grew pale.

 

I thought, a cadet’s pride

At becoming adult.

I thought, objects of the cult

Aren’t loved like brides.

 

But it happens to be real.

Into the freezing days,

Already listless, you follow me

Everywhere and always.

 

As though you wanted to see

Court-evidence

I didn’t love you. Forgive me!

Vowed yourself to martyrdom.

 

And death held out his hand to you…

But why? Why did ou take it?

I didn’t know how frail the naked

Throat under the high blue

 

Collar. Happy boy… tortured

Owlet… Forgive me.

I find it hard today

To leave the church.

 

– by Анна Ахматова (Anna Akhmatova) (1913, November)

– from Четки (Rosary, 1914), translation by D. M. Thomas

 

Pyrophilia

When you were born it was I who kept your parents warm in this cold heartless world.

When you were little they warned you about me. They warned you how I would hurt you even though I was pretty. They told you, though I gave you light and warmth, I would take my tariff if you ever tried to touch me wouldn’t I?

November 5th they brought you to me in the darkness outisde to celebrate a dead man. They lit the sky with my little colourful brethren who they happily sacrificed for their entertainment. A gloriously brief death for those you use for your amusement.

When you were a little older they left you alone and you sought after me in curiosity. That look in your eyes was my fuel. They found us hidden away together and scolded you, told you that I would burn you in my embrace, but you didn’t listen. In the garden they would still call me to get rid of their unwanted things, but you, you they wished to keep with them and so they kept us apart.

Summer came and you had no need for me so I was abandoned. In winter you all locked yourselves inside with me. Watching me. Feeding me. Without me you and everyone like you would have been dead a long time ago. But still you fear me though I was enslaved by you.

Years passed but you never forgot about me did you? Me? I was there waiting in the dark alone until next we would meet. ou would have seen me if you ever looed. Sometimes in summer you would call on me to cook you food outside and every November without fail we would meet again amongst the crowds. But now you kept your distance as if afraid of me.

My desire for you smouldered but you were so cold towards me. Had I done something wrong? Was the burning passion between us truly gone? One day you let your guard down and I entered your house. I found you sleeping and the consummation of our love took your breath away.

When it was your funeral they delivered you to me in a wooden box made just for you. How intense our final moments were together as we both let our flame extinguish finally.

Ashes to ashes. Dust to dust. Amen.


I forgot I was going to try and post daily this week. Here is a short vignette I wrote a long time ago. It is a very rough first draft so I am not pleased with it but then I doubt I will ever bother to revisit the concept and tidy it up without some incentive.

Fire is associated, in concept and symbolism, with passion and intensity of emotions amongst other things. I am sure someone has written something like this before. No doubt one if the classics of literature is on this subject as its one of those things that seems so obvious a concept for practising your writing style.

Comments or likes are always appreciated if you read this or anything else. I changed the look of the blog a few days ago. What do you think? I’m not sure the Gibson girls thing was the best idea to be honest.

… and just to have a video associated with the topic.