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Ray Pride

By Ray Pride Pride@moviecitynews.com

Come and See: what another generation saw

In the Telegraph’s valuable “Film-makers on film” series, Christopher Smith, the director of a new UK horror film, Severance (which has its North American debut at Toronto), admires Elem Klimov’s indispensable war masterpiece Come and See: “We all get scared of nightmares, but then there’s the euphoric moment when we wake up. Those up and down emotions are why I grew up loving horror films,” the director says. “Smith realises that the “gore-bores” raving about Severance on the internet might be a bit perplexed by his chosen film. Described by J G Ballard as the greatest war movie ever made, Come and See is a harrowing, monumental epic set during the Nazi invasion of Belarus… Klimov_51-087.jpg “I haven’t seen any of [Klimov’s four other films],” Smith says. “He’s not part of the canon and he’s not known outside Russia like Eisenstein or Tarkovsky. That’s why I’m so keen to get people to see this.” And for the best part of the following hour, he explains why at high speed. “It’s not one of those films where everyone’s on their way to a big battle, and it’s not about solving a mission… We have no idea where the narrative is flowing, and this free-form structure is how I think war would be. The madness of war is a cliché, but Come and See truly captures it.” … “Klimov also used live ammunition. In one sequence, the boy and girl are skipping through a forest, all in one long take, and real explosives start going off within 20ft of them…. ” As a film student, Smith wrote his dissertation on the Holocaust in fiction and says he’s obsessed with the Second World War.” One scene of Severance “involves a plane being shot out of the sky with a rocket launcher. “I was told by the financiers that it would make the film un-releasable in America. Well, we took Severance to Cannes and the Americans were the ones who were laughing the loudest there and who immediately signed up to buy it.”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon