Those who question Russia’s commitment to sustainability should at least give them credit for recycling their titles. In 1989, Fedor Bondarchuk received one of his earliest acting credits in Yuri Ozerov’s “Stalingrad.”
Twenty-some years later, the thespian-turned-director has helmed Russia’s first film produced entirely in 3-D IMAX—and it happens to have the same title. It essentially ends the same way too, but some weird editorial choices distinguish Bondarchuk’s “Stalingrad,” Russia’s reigning box office record holder, which opens today in New York.
In large measure, Bondarchuk’s “Stalingrad” is inspired by the heroic exploits of Pavlov’s House, the strategically located apartment complex doggedly defended by Sergeant Pavlov and his men.
In this case, it is Kapitan Gromov (Pyotr Fyodorov) and his comrades who have dug into a reinforced tenement right across from pretty much the entire German army. While most civilians have evacuated, the elfin Katya (Mariya Smolnikova) has defiantly remained to stoke jealousy among Pavlov’s men and to give them something personal to fight for.
A few steps away, Germany’s Kapitan Kan (Thomas Kretschmann) is tasked with crushing all pockets of Russian resistance. However, National Socialist war atrocities have dampened the Prussian elitist’s morale. He is more concerned with Masha (Yanina Studilina), another Russian woman stuck in the wrong place at the wrong time.
Despite their rough introduction, he has started to fall in love with the Russian beauty. She also seems to warm to him as a protector, but fears for the consequences if and when the Soviets expel the Germans.
Perhaps the weirdest element of Bondarchuk’s film is the framing device, in which a Russian emergency responder tells a group of Germans trapped in the rubble of the Tohoku tsunami how his mother met his five fathers during the siege of Stalingrad, because nothing is more reassuring than episodes from the bloodiest battle in human history. Come on. Next time, don’t help.
Frankly, the way the film exploits Japan’s 3-11 tragedy would be deeply offensive if it were not so ludicrous. Seriously, Russian rescue workers digging out Germans in Sendai?
On the plus side, Bondarchuk makes stuff blow up really well. Obviously, he did not intend to waste his blank check in the IMAX store. He devises all sorts of dramatic perspectives on the action, while vividly capturing a sense of claustrophobic close-quarters fighting. He is also either surprisingly fair to the Germans or simply lets Thomas Kretschmann run circles around the rest of the cast as the ethically nuanced Kan.
Frankly, Kan represents the film’s most believably complicated character and develops some powerfully ambiguous chemistry with Yanina Studilina’s Masha. In contrast, Gromov and the other four fathers are all either colorless Reds or borderline war criminals. Either way, they make a little lasting impression. It almost makes a viewer wonder if Bondarchuk set out to be deliberately subversive.
It seems unfathomable that a Russian World War II epic can make audiences sympathize with the Germans. Yet, if you close your eyes and think of “Stalingrad” a few days after taking it all in, it will be Kretschmann and Studilina whom the mind’s eye will recall.
Nevertheless, Russia duly submitted “Stalingrad” as its official foreign language Oscar contender. Perhaps it is still preferable in Russia to declare a dubious victory than admit an obvious defeat.
Sort of recommended in a confused way for those who appreciate battlefield spectacle, “Stalingrad” opens nationally today, Feb. 28, including in New York at the AMC Empire and Lincoln Square theaters.
Joe Bendel writes about independent film and lives in New York. To read his most recent articles, please visit www.jbspins.blogspot.com
Director: Fedor Bondarchuk
Starring: Mariya Smolnikova, Yanina Studilina, Pyotr Fyodorov
Run Time: 2 hours, 11 minutes
Release Date: Feb. 28
3 stars out of 5