Wonderful character development!

Let's be realistic.

Don't Believe the Hype

While it doesn't offer any answers, it both thrills and makes you think.

Larisa Shepitko's Ascension tells the harrowing tale of two pro- Soviet partisans, Rybak and Sotnikov. The film begins with the two of them trekking to a Belorussian village in search of food. When they find the village in ruins, they continue on to the next place, where they— with a little trouble—obtain a sheep. They have a run in with some Germans, when Sotnikov is shot in the leg. Rybak goes back for him and drags him through the Belorussian snow to the safety of a woman's home . . . however, the two and the woman sheltering them are captured by Germans. The struggle for survival continues through the rest of the movie. There is a big theme of Rybak's immorality vs. morality in this movie. The first incident is when Rybak goes back to help Sotnikov. One may think that it would be more moral to leave him behind—get back to the group with the sheep and take care of the collective instead. However, it still seems like a noble and moral thing to do. The next case is in the attack—Rybak could have kept silent and possibly still stayed alive and maintained the safety of both Sotnikov and the woman—Demchikha. The last and most morally questionable act of Rybak is changing sides in order to keep his own life. Is it really better to live when you have already betrayed your cause? The question of Rybak's morality can be extended further into a biblical comparison with Judas; Sotnikov is clearly the Christ like figure in the case. Rybak again and again seems to betray Sotnikov and the Soviet cause, and in the end survives while Sotnikov makes the ascent up the hill to the gallows, which is clearly metaphorical for Christ's ascent up the hill to his crucifixion. Sotnikov sacrifices himself—like Christ—for what he believes in. This movie is a must see for all.

it is not exactly a good film. maybe, it is not a masterpiece. it is perfect. and that is all. the image, the acting, the music, the message. as pieces of a clock. Anatoly Solonitsyn in a extraordinary role, different by Rubliov frame. Boris Plotnikov as one of masters of the nuances who defines its character. and a great director. a pure Christian movie from Soviet period. the skin is red, the essence is profound Orthodox. and not only for magnificent story. but for the use of many traditional Russian iconography motifs and symbols. a film like an experience. the mixture between white and black, the excellent science of detail, the acting as a form of catharsis. must see it ! not only for artistic value or for a real extraordinary cast. but for a chain of emotions who can become experience. a perfect film. a memorable meeting.

This intense dramatic examination of the effect of battle on two soldiers thrown together by the circumstances of World War II is brutal and often difficult to watch; it is a black and white film, and since most of the action occurs in the snow, it sometimes approaches the look of an abstract painting.In what is now Belarusa, the two men from different backgrounds are ordered to leave the camp to find food; on the way they encounter Nazi soldiers and are captured along with members of local peasantry; interrogation and torture follow. The film is less about action and more about the struggle to find meaning in battle, a struggle for the soul's integrity. This is a new release from the Criterion Eclipse series and is exquisitely remastered; be warned it is not an action film, and more a potent examination of human behavior under the worst sorts of stress; it can be a powerful viewing experience for some, and like Elem Klimov's Come And See, a revelation in many ways.

It comes as no surprise that Larisa Shepitko was married to Elem Klimov, who would later direct the most harrowing war film ever made, 'Come and See (1985).' 'The Ascent (1977)' – Shepikto's final completed film before a premature death – is built in very much the same mould. Set during WWII, the film follows a pair of Soviet partisans who try to secure food for their starving army while evading the occupying German forces. The first forty minutes are agonisingly tense, as the two men drag themselves though the harsh, snow-covered landscape, the world around them completely sapped of life, warmth and colour (indeed, so monotonously drab is the scenery that it literally took me this long to realise that the film was shot in black-and-white).Following the partisans' capture by German soldiers, the film becomes a cold meditation on loyalty and morality. Whereas Sotnikov (Boris Plotnikov) refuses to betray his army, even under extreme duress, the less resolute Ryback (Vladimir Gostyukhin) attempts to save himself. Is he wrong to do so? Ryback's betrayal is disheartening, but the film doesn't immediately condemn his actions are treacherous; instead, the viewer is forced to consider what their own response might be in such a situation. Shepitko pities Ryback as the Bible pities Judas. Both men betrayed their allies to the enemy, and were forced to watch them executed. However, whereas Judas committed suicide by hanging (at least according to Gospel of Matthew), Ryback finds even that option closed to him – in an excruciatingly taut climax, the belt around his neck becomes unfastened.'The Ascent' draws its emotional power from Shepitko's astonishing pursuit of realism. I have no doubt that the two principal actors spent days on end clambering across the snow-covered earth on their hands and knees, and, indeed, so convincing is their misery that I actually developed a cold while watching the film (seriously, I did). Interestingly, the film interjects on this reality on several occasions, as Ryback imagines himself making a bid for freedom, and then being gunned down by his German captors. This device, though unusual, works well with its Biblical allegory; Ryback is facing a trial of his worthiness, and, faced with a new dilemma at every turn, he consistently chooses the selfish alternative, his own life the only deciding criteria. At film's end, he is still alive, but the nightmare of war and guilt persists.