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Larisa Shepitko: Wings/The Ascent (Eclipse Series 11)

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Product Details

  • Actors: Boris Plotnikov, Vladimir Gostyukhin, Sergey Yakovlev, Lyudmila Polyakova, Viktoriya Goldentul
  • Directors: Larisa Shepitko
  • Writers: Larisa Shepitko, Natalya Ryazantseva, Valentin Ezhov, Vasiliy Bykov, Yuri Klepikov
  • Format: Black & White, Dolby, DVD-Video, Full Screen, NTSC, Subtitled
  • Language: Russian
  • Subtitles: English
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 2
  • MPAA Rating: UNRATED
  • Studio: Criterion
  • Release Date: Aug. 12 2008
  • Run Time: 194 minutes
  • Average Customer Review: Be the first to review this item
  • ASIN: B0019X3ZZO
  • Amazon Bestsellers Rank: #40,552 in DVD (See Top 100 in DVD)
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Product Description

A once heroic, female fighter pilot copes with a quiet life as a school principal two World War II soldiers cut off from their troop in winter, try to survive in German-occupied territory.
Genre: Foreign Video - Russian
Rating: UN
Release Date: 0000-00-00
Media Type: DVD

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Most Helpful Customer Reviews on (beta) HASH(0xa4d004ec) out of 5 stars 10 reviews
34 of 34 people found the following review helpful
HASH(0xa576ae04) out of 5 stars Another Revelation from Eclipse Aug. 25 2008
By Randy Buck - Published on
The stated mission of Criterion's Eclipse line was to bring us good DVD editions of important films heretofore unavailable on DVD, in high-quality transfers and low-cost packages. They've succeeded in spades with their first ten issues, but none have brought me more pleasure than their eleventh, this set of two films from Russian director Larissa Shepitko. Her tragic death in a car accident at the early age of 40 has meant that her international reputation was eclipsed by many of her film school contemporaries. But, as this package shows, her talent was second to none. Two of her four completed films are on display; WINGS, the first, provides a marvelous role for character actress Maya Bulgakova, deeply moving as a middle-aged school principal longing for the freedom of her early days as a fighter pilot. This is a fine, incisive piece of filmmaking; the other picture, THE ASCENT, is, without question, a great movie. Following the travails of two Bellarussian partisans struggling to find food for their troop, the picture's harrowing and heartfelt, and, in its passionate, mystical treatment of Christian themes, squarely in the tradition of Tolstoi and Dostoevsky. Both films share a technique that's a fascinating mix of closely observed realistic detail and sudden, breathtaking bursts of poetry. Thanks to this set, a new generation of film fans will have a chance to revel in the subtle pleasures of Shepitko's work. Highly, highly recommended.
23 of 24 people found the following review helpful
HASH(0xa576827c) out of 5 stars Long overdue Farewell Oct. 20 2008
By Jules Anderson - Published on
As a huge Criterion fan, I knew I had to bust my cherry with the Eclipse series sometime, and I couldn't have picked a better choice.
To put it blindly, this is their best looking transfer from an old Mosfilm print since they put out "Ivan's Childhood" a year or so ago (the early ones that Criterion put out, such as "Andrei Rublev" and "Cranes Are Flying", look terrible by comparison.)
As part of the dazzling 'THAW' generation of filmmakers (Tarkovsky, Parajanov, German, Klimov) that emerged post-Stalin, Larisa Shepitko is criminally unknown. All faced censorship problems, and viewed now, her films, especially "Wings", about a woman who often escapes the unhappiness of her drab life through her imaginative memory of the past, seems quite subversive. "The Ascent" is a WWII film, with Russian characters that are at times cowardly and cruel. The winter photography and windswept sound design emit a chill from every frame, and the movie is at times poetic and detached, as Elem Klimov's better known masterwork "Come and See..." (a sort of companion piece in some ways) is visceral and subjective.
But what makes these films most remarkable is Shepitko's distinctly feminine voice and fragile human sensiblity, often letting her camera focus and linger quietly on the suffered faces of her actors, conjuring strong emotional sympathy from the slightest gesture or close-up in the same way pre-feminist directors like Bergman and Mizoguchi do (a true anamoly in the restrictive climate of the USSR). Shepitko's style is more hidden, subtle, we don't get much in the way of long/slow tracking shots, experimental editing or pretentious auteurism like many of her contemporaries.
Who knows what cinematic wonders were lost with the passing of Shepitko (Klimov's version of her uncompleted film "Farewell", while beautiful in many ways, is sadly devoid of her unique sensitive and personal touch). All I know is, ever since I saw "Wings" back in college years ago and was introduced to this genius, arguably the greatest female director there ever was, I've been pining for these films on DVD, and Criterion as always, has simply outdone itself.
14 of 14 people found the following review helpful
HASH(0xa4d05f24) out of 5 stars Blistering Sept. 25 2009
By Joseph Barbarie - Published on
It is never a good idea to engage in the game of "best ever" or "Top 100" lists -- they are often only useful for what they exclude. In any event, it is worth noting that this 1977 outing by Larisa Shepitko is not included on TIME critic Richard Corliss's list of 100.

And, although a masterpiece like this is greater than the sum of its parts, it is perhaps easier to comprehend why it stands so far above its peers by considering it in parts. To begin with, Shepitko's choice of black-and-white is not one of those self-consciously "arty" choices (as with, for instance, Woody Allen) -- instead, the color scheme serves a symbolic purpose. It also assists in making the snow-blind visuals all the more stark and compelling.

Second, the score, by Russo-German composer Alfred Schnittke is by turns bizarre and terrifying. During the "hallucination" sequences, we hear echoing clarinets and simmering percussion. The music for an execution is an incongruously jolly march, a satire of German military band music. At any rate, Shepitko uses Schnittke's music carefully, doling it out in dribs and drabs (like a cook seasoning a meal) until the very end, when she lets the score roil up to a harrowing climax. I have no reservation in proclaiming her use of music to be the best I have ever encountered in a film. Although Hitchcock's collaborations with Herrmann are fine stuff, here we have a composer of greater technique scoring a movie of greater profundity than any of Hitch's work.

Third, the actors' performances are uniform in their high quality, although particular mention must be made of the (name?) actor who plays Portnov, the turncoat investigator for the Nazis. Much of this actor's power must lie in the physicality of the man himself: the deep-set, bright little eyes, like a pit-bulls'; the little predatory teeth; the bulging nose and forehead. He is every bit the ambitious stooge, gamboling and simpering at the heels of his Nazi handlers like a slightly out-of-place retriever. And the patient gaze of Shepitko's camera allows us to look right down her actors' throats, almost right through them at times.

Fourth, Shepitko's photography is as beautiful as anything by John Ford. She is equally comfortable with the vast, snowy expanse of tundra, or the claustrophobic prison interior, lit by a lantern dangling from a girl's hand.

Another reviewer -- not on this website -- remarked that "The Ascent" is one of those films that you can only bear watching once or twice, so profound is its emotional power. And indeed, it is a bruising, teeth-rattling piece of work. It is certainly not for someone looking for a light bit of entertainment. It should, however, be seen at least once.
8 of 8 people found the following review helpful
HASH(0xa4ee6e28) out of 5 stars The Ascent. June 11 2010
By Mr. H. C. Orr - Published on
(Please note this review is only for "The Ascent" and not for "Wings".)

"The Ascent" is one of the few films, along with perhaps Lean's 1948 version of "Oliver Twist" and Bergman's "Persona" which could be described as "perfect". By that I mean that it is a film where there is hardly one wasted shot, where every line of dialogue, gesture, piece of music and mise-en-scene is used with maximum impact. There are better films than "The Ascent", but hardly any others which hit their chosen marks as concisely as Shepitko's masterpiece.

"The Ascent" is also the bleakest of all films, with a final scene of personal suffering that surpasses the grimness of the finales of "Lola Montes" and "Strozsek" combined, and one that seems to reach out to the emptiness and vulnerability in all human beings. It also has, in Anatoly Solinitsyn's performance as the quisling interogator, perhaps the nearest cinema has ever got to portraying sheer evil in human form. It is a magnificent, tortured performance, to me one of the greatest in the history of cinema. (There was good reason that Solinitsyn was Tarkovsky's favourite actor.)

"The Ascent" will probably be forever known as a very "Russian" film, which means it is grim. It is also the greatest film ever made by a female director, as if that distinction matters. But it is better than that. It is a film that asks questions about the human soul while retaining its own soul, and all the time dissecting us with scalpel-like ruthlessness and precision.
2 of 2 people found the following review helpful
HASH(0xa528272c) out of 5 stars Two very different films April 19 2013
By Christopher Thomas - Published on
Verified Purchase
While both films are incredible, they are quite different from each other, and that is why this package is so wonderful. Transfers are splendid (although slight edge enhancement with all the snow scenes in Ascent but nothing distracting). Such a treat!