The film is eight hours long and was shot from 1970 to 1972 to commemorate the victory of the Soviet Union’s Great Patriotic War Shooting for the 30th anniversary.
The whole film is divided into five episodes, namely "Firepower Arc", "Breakout", "Main Attack Direction", "Balkans" and "Battle of Berlin". The film can be viewed in volume, and it can be regarded as the largest film in the former Soviet Union. In 1972, the film wonGet Lenin bonus.
There are more than 30,000 soldiers, more than 10,000 tanks, and nearly 1,000 aircraft participating in the filming. It is composed of black and white films and color films. The black and white fragments are mainly used in the performance of indoor scenes. Where Stalin and Hitler's base camp scenes are composed of black and white films, the scenes of frontline battles are filmed by color film, which may have been in the past. I have shot a black-and-white film of the same type. Due to the limited conditions, there was no corresponding battle scene. Therefore, when the full version was shot later, the black-and-white version of the past was added to the color film.
The film begins with the Kursk Tank Battle, and then expresses the degree The battle across the Nieper River, the capture of Kiev, then the Tehran Conference, and then an attack from the swamps of Belarus. During the period, the attack on Minsk was followed by the invasion of Poland. The battle after leaving the country was relatively simple, and the conquest of Berlin was the final focus of the film.
The film has a huge structure, numerous characters, and all-encompassing. While these performances took place in the Soviet Union, the film has not forgotten the passage of the Yugoslav guerrilla breakout from a calm perspective, the Polish guerrilla. The one engaged in is the same thing that terrorists often do today, that is, putting a bomb in a movie theater to kill the German army. One of the most exciting scenes is the assassination of Hitt by a young German officer.The dramatic conflict in which the effort falls short is also the most tense and the most addictive passage in the film.
The tall and majestic Stalin in the film follows the styling tone established during the eulogizing Stalin period. Therefore, when the film was shown, Soviet audiences still responded with enthusiastic applause for the appearance of Stalin. However, it cannot be said that the director of the film had a profound understanding of Stalin.Out of my inner feelings, in the 1970s when the film was filmed, the former Soviet Union's evaluation of Stalin rose slightly, which led to the director's response to the times, and his performance towards Stalin tended to be more positive. In 1990, when Ozelov directed "The Battle of Stalingrad", he erased the highlights of Stalin and put him in the ranks of a mortal. By this time, the former Soviet Union was already on the eve of disintegration.
But in "Liberation", the film has nothing to do with the personality of Stalin. In the film, Stalin is like an emotionless machine. He is like a textbook robot that decides strategy. The main mission is to listen to the following reflections and opinions, and then give instructions, even without saying anything. Under normal circumstances, they say "agree." The most typical line is "at the latest... launch an attack." All of his The characteristic is to promote the attack, and Zhukov’s pressure comes from Stalin’s time.Pressure between.
Stalin in the film may want to show his choice of good and obedience, but also amiable and good at listening Although the subordinates have their own opinions, when the subordinates put forward their own correct reasons, Stalin concluded with agreement. He didn't have any far-sightedness, just echoed. The character setting in the film is very unfavorable to the shaping of the character image. There is a paragraph, RockWhen Nosov proposed to attack from the swamps of Belarus, the film set up a little disturbance. Stalin first asked Luo to think about it, and then Stalin continued to discuss with Zhukov the feasibility of attacking from the swamp, and waited until Stalin agreed to When the marshland attacked, Luo was invited out again and asked him if he was thinking about being mature. At this time, Luo insisted that he had seen it, and Stalin quickly proceeded with the boat and agreed to his plan. Stalin here seems to have played a little trick.
In the film, Churchill’s mouth was used to comment on the cunning of Stalin’s Eastern style. Even when Stalin sent a photo of himself, Churchill’s subordinates mocked. One sentence: "I found that Uncle Joseph admired his photos very much. "
In diplomatic situations, Stalin was stabbed in his words and insisted on his own principles. At this time, the film seemed to try to show his defense of Soviet interests, but he did not write how witty he was in the film. In, Stalin’s tall body makes the other two giants unobtrusive. In short, Stalin has not shown special superhuman wisdom, whether in the domestic part or in the diplomatic struggle. How he looks at it is a lack of emotion and learning tongue. A puppet with a line.
Stalin stayed in and out of his office all day, never taking a step, nor showing his feelings. There is a passage showing StalinLin's son was arrested, but Stalin did not react emotionally. Regardless of whether he hates or loves him, Stalin should make a basic human response, but the movie never mentions it at all. The secretiveness of Stalin's emotions made the film unable to explain all of Stalin's actions. This is the embarrassment of Soviet cinema. From the deification tendency when he worshiped Stalin in the past, to the indifference and qualitativeness at this time, the inner world of the character of Stalin is a closed existence. This confusing and controversial character is undoubtedly an artistic bonanza, but Russian films may not be able to express his true inner world. Even when German films have the courage to watch Hitler with the eyes of a female secretary and restore him from a demon to a person, Russian and Soviet films are too quiet in this regard.
Compared with Stalin’s office in "Defense of Moscow", the office in this filmPublic places are more rudimentary. In "Mo", there is a shot of Zhukov entering Stalin's office from outside, which can be seen as a real-life shooting. In this film, the office is just a temporary set, and I don't know where it is in the Kremlin. s position.
In the film, Hitler is just a clown-like person, thunderous and nervous, but this Personality tone, better thanStalin squeezed himself, like a puppet who couldn't say a word for a long time, much more vivid.
It should be Zhukov who is slightly depicted among the officers in the film. He often goes deep into the front line, and there is an episode that shows his decisiveness. When Zhukov inspected the front line, a regimental commander actually slept and rested during the offensive. He knew nothing about the attack on the front line. However, his chief of staff responded fluently. Zhukov decisively asked the two men to adjust one by one, reflecting Zhukov. The quality of doing everything by yourself. But as a high-level commander, he has to deal with such small details on the battlefield. Then, can this kind of management system of the Soviet army be said to be successful? Of course, the film expresses a kind of reality on the battlefield, and this reality is used to depict characters.
and In one paragraph, Zhukov received an order from Stalin to conquer Berlin in fifteen days. His heart was under tremendous pressure. At this time, the movie showed that he was alone, picking up the accordion in the corner, and playing alone. In the sound of music, his The scene of defending Moscow flashed back in his mind, as well as the fragments he promised Stalin, which were later reflected in the "War of Moscow". This fragment can be said to penetrate Zhukov's heart and reflect his The anxiety and the desire to encourage his confidence through past wars, there must be his andLooking back on the past of Stalin's relationship, in order to better understand Stalin's heart, he seems to have realized from the crisis in Moscow that Stalin urgently demanded the motive of revenge behind the attack on Berlin.
The film used aerial footage many times to scan the ground for several miles of tank battles. The scenes were indeed shocking.
With this kind of aerial lens,It is a battlefield shot taken by a camera standing on the side. Like an aerial scene, this shot is viewed from a bystander's perspective. In fact, such a perspective, no matter how huge your battle scene is, it can only give people a sense of desertedness. Because you did not show the reaction of the soldiers in this scene, the indifference of the camera was conveyed to the audience, and the audience was just curious. Watch all these wonders of war without betting on feelings.
This kind of viewing angle is always on one side of the battlefield, making the film appear on the same camera multiple times, and constantly panning the camera from side to side, such as when crossing the Dnieper River. , Using the same camera three times, panning from the right to the left, the content of the shots are all scenes of tanks, but these scenes have time. It can be seen that there seems to be no way for the movie to show the dynamics inside the battlefield.Although this movie has a grand war scene, there is no pressure and tension that penetrates the screen. In contrast, Spielberg’s "Saving Private Ryan" cuts the camera directly into the process of the battlefield, giving people a sense of immersion, conveying a special sense of tension and pressure.
In fact, most of the fierceness and tension of the lens are accomplished by the switching of the lens. Once, justAfter a period of time was suspended, countless switching shots produced a rhythm and countless intensive time, resulting in a quick narrative feeling. In this film, the lengthy shots are consistent, just like unwinding strings, procrastinated and bloated, and can't get up quickly. The film also likes to take a three-hundred and sixty-degree sweep of the war on the lens. The prerequisite for this lens is the hugeness and authenticity of the scene deployment. Under this panoramic scanning control, every corner of the battlefield has been carefully arranged and designed. The camera dared to shine the lens at every corner of the battlefield. Movies often use such a panoramic lens to show the scene. All-encompassing. There is a shot of the German army marching. It starts with the German tanks tearing down the straw house, and then moving horizontally. You can see the German tank troops marching slowly on the road. Then, unexpectedly, the camera pans 180 degrees and sweeps. To the German partIn the direction, you can still see the German army stretches. This kind of shots that are shaken from the same direction and the direction they go are everywhere in the movie, forming a three-dimensional attacking combat space. One of the outstanding strengths of the film is that its lens is boldly and unscrupulously extended to every corner of the battlefield. The battlefield picture it sets up is obviously larger than the lens can accommodate. All the lenses dare to aim. Any corner. This is the luxury of framing caused by the huge set of the film, and it is the charm of the authentic setting. The amazing thing about the entire film is that each battle scene has a huge depth and width, like a huge picture of thousands of miles in size, although these pictures are processed in the film like a still image, without any movement. And vitality, but such a scene is still amazing.
The film does not unilaterally express the courageous spirit of the Soviet army, and even the sadness of a desperate battle is permeated in the film. It can be said that optimism does not belong to this film. The film uses a lot of space to show the officers' lack of confidence in the war, and also uses the lens to show the fear and retreat of the Soviet army. The tone of the whole film, even the latent tone of the Soviet army's existence of fear of death and cowardice, does not have a lofty and magnificent heroism. In a section of the film depicting the Battle of Kursk, aThe Soviet officer lost his position and fled back alone. The boss blamed him for being a coward. Without a word, he rushed to the enemy's tank position with a gun and fell in front of the torrent of steel. What did he want to express here? I only feel that the Soviet army does not pay much attention to people, only sees the blunt position, and does not understand that in the collision between people and war, not only the will determines success or failure, but also the objective conditions of material, all failures are attributed to the timidity of the soul , It will only hurt the souls of others and the lives of others in vain. Can you say that this officer did not die with a heartbreaking pain?
In the film, the tranquility experienced by the officers on the front lines is mentioned many times. On the eve of the Kursk German attack, the Soviet officer sighed: "Unbearable silence has come, just like the novel. In a later offensive paragraph, the Soviet army sighed again: "How quiet, it's a pity to break it." "(This is what Roknosov, who launched the attack, when he marched into the Belarusian swamp). This unique praise for tranquility may be a unique feeling of the Soviet Union.
The footage of the film is too long, and it also brings undesirable effects to the experience of the people on the battlefield. A coherent shot cannot produce a real sense of the battlefield, so the soldiers in the film are rough in action, and there is no battlefield. Nervous, charged loosely, talkingAt that time, the bullet actually exploded above the head, but the person had no effect. Another paragraph, for example, when the Soviet general Valtuki was running to the front line, he encountered an ambush. The camera followed the character to shoot, but the character seemed to take care of the camera. Before the enemy ambush, he turned his waist straight and acted unpreparedly. These shots typically represent that the soldiers in the entire film lack a sense of reality and vividness on the battlefield. They are just a group of stupid soldiers who let the enemy fire.
When the film shows the Soviet army fighting, it does not forget another type of Soviet army. Here, we can see that the Polish army cooperated with the Soviet army during the attack on Berlin. Army tanks attacked forward, and a Soviet army and Polish soldiers went to find gasoline and rescued the survivors of the concentration camp in the iron tanker. It was also a good plot setting. There was a car of women in the car, and the other was an anti-fascist German. This on the one hand reflects Germany’s genocide policy, on the other hand, it reflects a future new Germany, which will emerge from these anti-fascist Germans. This may be to some extent an affection for East Germany at the time. Take care of the above. The small details set in the film constitute the more attractive part of the film.
There is also a paragraph showing the historical facts of French pilots participating in Soviet combat. There is also a plot with a beginning and a tail, which is a self-contained system. We saw that a Soviet officer first gave a handful of tulips to a Soviet female telephone operator, and soon Later, the French pilot came to this lady and flirted in front of the female soldier with the unique romance of the French, and was criticized by another Soviet pilot, but the flirting attack power of the French pilot was obviously effective. , The woman must think that the sweet words of the French pilot felt good and prevented the Soviet pilot’scriticism. In the air battle, the French pilot was shot and the Soviet pilot landed at this time and saved the French pilot on the plane, but was eventually destroyed by enemy fire, adding a friendship and romance to the battlefield. This paragraph is quite lively and touching.
The fictional characters throughout the film, it should be said that the artillery captain Xie Liaosha and ZoyaA love story between nurses. They met in the trenches, and later Xie Liaosha succeeded in breaking through the battle (in the Nie Bohe feint, his battalion seemed to only attract the attention of the enemy and was destined to be a victim), and met Zoya. Zoya rescued the wounded on the battlefield and asked for the support of her boss. The boss refused to help because of insufficient manpower. Zoya had to run to the front line alone. When the Germans surrounded him, the Soviet army launched an attack. At this time, Xie Liaosha gave her a slap, and she might be blamed for rushing to the front line without authorization. In the passage where Xie Liaosha broke through, he was too inactive in the shot, and there was no tension in the shot. The long shot followed him, watching others come up and the team's resistance, he was like a fly. When he broke through, It was also scrambling around in the wilderness, until the ferry, seeing the official Soviet attack team, ended this paragraph. And Zoya’s passage of rescuing the wounded is also untruefeel. The camera has been set on the Soviet army's position, showing Zoya rushing forward, not knowing how she knew there were wounded. There is a section of Xie Liaosha on a truck with a queue of tanks beside him. In this empty shot, a virtual character is used to show the spirited spirit of the war, which is quite artistic. On the boat, they met Zoya and kissed. Later, the film showed Xie came to the water where Zoya was swimming, wrapped Zoya who had just got out of the water with a sheet, and said that you are my wife on the battlefield and are not afraid of other people's gossip. At this moment, seeing the German breakout troops, Xie ordered the artillery to attack, intertwining tenderness and war. These two roles continued until the end of the film, when they finally met in front of the Reichstag in Berlin.