Enemy at the Gates

Still, the movie tends to drag at times, and could have been much better. The love triangle subplot was more of a distraction than anything else, taking up time that could have been better used to tell more of the awesome story of the battle of Stalingrad as a whole. Rather than simply having the German commander state, "These snipers are demoralizing my people," it would have been nice to have actually "seen" a little bit more of how the actions of Zaitsev and the Soviet snipers wore down the vaunted German infantry. Regrettably, the duel between Zaitsev and Koenig seemed to be taking place in a separate reality than the war itself, almost giving the impression that both sides had an unwritten agreement to let the two rivals shoot it out without interference. Also, the abrupt ending gave no explanation as to how the Red Army, seemingly on the ropes throughout the movie, suddenly emerged victorious. It would not have taken much film time to explain how this came about: the tenacity of Stalingradï¿s defenders drew the mechanized German forces into costly city fighting, allowing the Red Armyï¿s powerful reserves massed to the north and south to punch through the weak Axis flanks and encircle the Germans. Saving Private Ryan succeeded in telling much of the story of the Normandy invasion in a way that neatly complimented the movieï¿s plot. I wish that Enemy at the Gates had made more of a similar effort.

I know that ï¿dramatic licenseï¿ is a fact of life with historical movies, but it is way overdone in this one. The opening sequence of the Volga crossing is powerful filmmaking and is mostly accurate up until Zaitsev and his fellow soldiers enter the city. The following part about only every other man receiving a weapon and being sent of in a suicide charge is purely the stuff of legend, though, more fitting of the WWI Russian Army or a Soviet punishment battalion. The reality was that the Red Army in Stalingrad fought mostly in small detachments armed with submachine guns rather than rifles, moving stealthily amongst the rubble and ambushing the Germans in brutal house-to-house fighting. This sort of close-quarter combat, where the front lines were often separated by less than 20 yards (or even a mere hallway or staircase), would have played out on screen just as well (better, in fact) as the ï¿charge of the Red hordeï¿ that is the stuff of popular imagination rather than true history. The conclusion of this scene is misleading, as well. The Soviets did shoot many deserters who attempted to flee the front lines, but this degree of harshness did not apply to survivors of a failed attack as shown in the film. The commanders of the Red Army were often brutal towards their men, but not quite that brutal. As for the way the sniper duel is finally brought to a close, with Koenig walking upright in plain view towards what he suspects is the spot where he has just shot Zaitsev dead, it is just ridiculous. Not even a rookie sniper would have made such a fatal error, much less an instructor.

The Soviet characters all share the names of actual people, but none are true to their real-world counterparts. Vassili Zaitsev was more of a natural leader than the movie gives him credit for, not just a shy boy from the Urals reluctantly pushed into the limelight. Danilov, the political officer, appears to have been crafted by the screenwriters almost solely in order to make a faddish intellectual statement about the pitfalls of Communist idealism. The real Danilov was shot (though not fatally) when he foolishly stood up to point out Major Koenigï¿s location to Zaitsev, not in an act of suicide. Tania Chernovaï¿s on-screen character was the furthest from reality, though. She was actually a short, temperamental blonde who had previously fought as a partisan in Byelorussia and the Ukraine. A veteran killer by the time she arrived in Stalingrad and possessing a single-minded hatred of the Germans, the real-life Tania could hardly have been more different from the sensitive student/soldier who never actually fires her rifle once throughout the whole film. Also, Chernova was likely Ukrainian, not Jewish (only worth noting because of the widespread myth that most Ukrainians welcomed the Nazis as liberators from Soviet rule). Ironically, the character that seemed truest to reality was Major Koenig, a shadowy figure who some historians claim might never have existed.

Though I used most of the space here to criticize this movie, I guess the fact that I bought the DVD means that I nonetheless enjoyed it. I probably would have rated it better were I not such a Russian history buff. Do yourself a favor and take the time to read both _Enemy at the Gates_, by William Craig (a very readable non-fiction account of the whole Stalingrad campaign) and _War of the Rats_, by David Robbins (a novelized version of the sniper duel that is both a better story and closer to historical fact than this movie was). My main regret is that the filmï¿s potential was largely squandered to make room for unneeded political rhetoric and melodrama. I only hope that its mediocre performance will not discourage film producers from backing other Russian Front projects in the future.

2. Implications: This film tries to pay credence to both the Russians and the Germans, while trying to play at their faults as well. It appears, however, that the film is still in favor of the Allies, from the distasteful humor in Major Konig toward his work, the ominous rows of sleek black German battle tanks, and the hopeful dancing of the Russian soldiers who knew they were to die. How does this movie paint the German personality? Do you think it is a valid statement?

3. Evolution: Cinema has seen many, many WWII films. From the blood and dust of Saving Private Ryan, to the practical jokes and youthfulness of The Great Escape, WWII films showcase a museum of human feelings regarding the Second Great War. Where does Enemy at the Gates fit into this grand tradition? How does it compare?

4. Realism: It's obvious the film tries to be realistic. The bloody battles and lost friends and gloomy atmosphere only emphasize and accent this theme. Yet there is a certain glee in the gun-battles, as if it were a video-game being played out. This is perceived in the cycling of snarpshooters beside Vassily the inevitable conflict between Vassily and Konig, the kill count papers, and the soap-opera love triangle between Danilov, Vassily, and Tanya. Do these elements become shortcomings, or do they flourish the film in its cinematic quest?

5. Stageplay: One of the first surprises of the film is that the Russian actors have British accents, while the Germans have German accents and speak English. How does this affect the atmosphere of the film?