STALINGRAD

Russia, 2014, 130 minutes, Colour.
Thomas Kretschmann,
Directed by Feodor Bondarchuk.

This portrait of Stalingrad under siege from German troops does not purport to give the whole picture of the battle for Stalingrad. Further background can be seen from the 2000 Film, Enemies at the Gate, directed by Jean-Jcaues? Annaud.

This is a Russian production, an interpretation from the 21st century, looking back 70 years to the pivotal siege and battle which turned the tide in the east against Germany. As with pictures of the siege of Leningrad, this is a picture of Russian heroics.

Stalingrad relies more on its action and special effects, especially for those who watch the 3-D version, quite striking in its vivid visuals. And there is, of course, arousing musical score.

There is a strange opening for the film and conclusion, not what we might expect – and, dramatically, not really pertinent to the film itself. We are in Japan, after the tsunami, with a Russian crew helping in rescue. Some brash young Russians are not as respectful to the elders as they might be. One of them then starts to tell the story of Stalingrad, many of the details he received from his mother who is a central character in the film. He continues with his voice-over as the audience is led back into the past.

The characters are standard, perhaps even stereotyped. The Russians are valiant, the Germans are very much the enemy, a lot of arrogance and sneering. As the Russians cross the river and move into the occupied city, there are powerful action scenes at the Russians take possession of the building which enables them to halt the progress of the Germans.

A Russian hero is good with his men, completely dedicated. The German villain, clashes with the Colonel in charge, in a relationship with one of the local women, and despised for this on both sides. Ultimately, there is a confrontation between the two. The screenplay also offers a parallel between the two men and their relationships with women, the German using the woman, though with some affection, and the Russian finding a young girl in the building, and helping her to survive.

It is hard to pick in detail some of the Russian characters, though there is renowned singer amongst them who has an interlude of singing – which the Germans listen to. There is also a signals man, nickname Sissy, who is also attracted to the young woman in the building – and he is the father of the narrator.

Possibly not the kind of film one would choose to look at, but if the opportunity arises, it is a chance to see something of Stalingrad and the siege and realise the effect that it had on Russian morale and the loss of German morale.
This Is a Russian production, and interpretation.

1. A Russian production, the intended audience, Russians, the impact on Germans? The world audience? Audience knowledge of the role of the Battle of Stalingrad?

2. The situation, the Soviet Union entering the war, Germany turning on the Soviet Union, the attack on Stalingrad, the extent of the Eastern front, the drain on German forces, ammunition? The Germans isolated? The Russians fighting back, the resistance, the final victory and the return of the Germans to Berlin?

3. The significance of the framing sequences of the tsunami in Japan, the devastation, the visuals of the destruction, the crews of the rescue, the Russians helping? the older Russian and his criticisms of the younger? His beginning to tell the tale of Stalingrad, the stories he received from his mother? The end of the film and the return to the tsunami, praising the Russians and their abilities? How appropriate this framework for this film?

4. The staging of the fights, the river, the cliffs, the town, the buildings, the square? Strategies?

5. The action sequences, the choreography of the battles? The special effects? The widescreen? The impact of the 3-D processing? Making everything more vivid and alive? The musical score and its heroic tone?

6. The conventionality of the characters, the situations, the dialogue? The parallel between the two leaders and the two women? Hero and villain, freedom fighter and mistress?

7. The Russians, the voice-over, the explanations, the picture of the men, getting ready, the attack, on the river? The bombardment? Deaths? The going against the artillery? Taking the building? Settling in? Snipers, mortar attack, the canons?

8. The leader, as a character, as a person? The other members of the corps: Sissy and his work, the nickname? The opera singer and his success, conscripted? The crass soldier and his attitude towards the others? The other members of the group? How well-defined were the characters? In the situations?

9. The Russian woman, her age, stubborn, attractive to the men, the dangers, her safety, her birthday party, cake and candle? Her relationship with the leader, with Sissy? Her being pregnant? The voice-over and his being the son of the woman and Sissy?

10. The Germans, presented as sinister enemy, their strategies, the colonel and his arrogance, the German leader, his relationship with the woman, his being caught? Trying to save her? Defying the colonel? His aim to confront the Russian leader? The tanks, the canon? The fight within the building? His death?

11. The singer, the interlude with his performance, the German listening?

12. The local girl, prostitution, her relationship with the German, her being captured, on the march? Being saved, the final sequences? Her death?

13. The picture of the locals, trying to survive, food, work, the roundup, the marches out of the city, the executions?

14. The aftermath of these episodes, the months of the siege of Stalingrad? The Russians ultimately winning?

15. Russian history, memories, morale-boosting?