Come and See

The unconditional surrender of Nazi Germany on 9 May 1945, or V-E Day, was largely due to the turn against the German forces at Stalingrad in 1943 and the relentless advance of the Red Army, culminating in the continuous bombing and devastation of Berlin. In the post-war period, films became an important part of the USSR's response to the war, depicting the valiant Red Army, the struggles of civilians under Nazi occupation, and often incorporating Holocaust or more subversive narratives into the subtext of official war commemoration. Along with Mashenka (1942), which was made during the war, Soldiers (1956), which canonised Stalin in particular, and The Cranes Are Flying (1957), which abruptly thawed Soviet cinema about the war, Come and See (1985) is one of the most important films about the Second World War in the Soviet consciousness. Directed by Elem Klimov, it is a harrowing portrayal of the Nazi occupation of Belarus that more than hints at the crimes against civilians, including those of the Holocaust.

Set in 1943, the film follows a young boy named Florya, played by Aleksei Kravchenko, who lives in a peaceful village. His world is turned upside down when the Nazis invade and he becomes a witness to the brutality and atrocities of war. We see Florya age through macro shots of his face, transforming from an innocent, hopeful boy into a traumatised and broken young man. The narrative immerses the audience in the horrors of the Holocaust and the devastating effects of war on civilians. Come and See is renowned for its unflinching realism, its unflinching depiction of violence and its use of sound and music to heighten the emotional and psychological impact of war.

The power of the film lies not only in its cinematography and performances, but also in its use of sound and music to create a visceral and overwhelming experience for the viewer. These elements are integral to conveying Florya's inner turmoil and the horrors he witnesses. The use of sound in Come and See also serves as a template for realistic sound in future Holocaust films and the deliberate use (or not) of music to heighten emotional moments. The sound design, along with the score, is meticulously crafted to reflect the chaos of war, the emotional shifts of the characters and the ominous atmosphere surrounding them. Methods such as shooting live ammunition near Florya's actor, Kravchenko, created real sound and real terror for the actor in certain takes. Kravchenko, who was aware of the use of live ammunition, actually feared for his life and suffered psychologically during the making of the film - many of the film's aesthetic choices would not be considered ethical or replicable today, but have an extraordinary effect in creating the soundscape and realism of the scenes.

The Historical Importance of Music and Sound in Come and See

Come and See is widely regarded as one of the most intense anti-war films ever made, both for its disturbing imagery and its innovative use of sound. The role of sound in the film is not just a technical aspect; it is a psychological tool that immerses the viewer in the characters' experiences and emphasises the horrors of war. The film's sound design and score are key components in making the emotional impact of the narrative so palpable.

In Come and See, music is used sparingly and only at specific moments of heightened emotion or realisation. This dropped score is unsettling and precedes other uses of a limited score to either heighten tension or highlight emotional scenes in later Holocaust films, including "Schindler's List" and the scoreless "Son of Saul". The sparse score, composed by the talented Viktor Reznikov, contrasts with modernist continuous scores such as Eisler's for Night and Fog. The music, when it appears, is haunting, slow and dissonant. It's meant to reflect the confusion and disorientation of warfare, as its melodies meander and don't usually reinforce sweeping emotional gestures. The score is not diegetic, nor does it contribute to the establishment or recognition of protagonists through the use of leitmotifs. Rather, the music of battles, bombardments, explosions and gunfire is the terrible 'belliphonic' sound of war, often recreated in precise detail by the film crew.

The decision to limit the use of music throughout the film emphasises the significance of the few moments when it does appear. The absence of music for much of the film allows the audience to be more aware of the raw sounds of the world around Florya - such as gunfire, screams and the general atmosphere of destruction - which serve to heighten the psychological experience of the viewer. Again, this is groundbreaking for modernist film scores, even those that don't emphasise diegetic elements, because the silence is not so - the sounds of panicked breathing or catastrophic warfare are an alternative to the affective, composed score. The unsettling silence, punctuated by occasional bursts of music, builds tension, suggesting that peace is fragile and any tranquillity is an illusion in the context of the horrors of war.

Soviet composer Viktor Reznikov approached the task with the understanding that the score should support the dark tone of the narrative rather than overwhelm the viewer. The music in Come and See is not a patriotic, overblown, simplistic score. Rather, the dissonant and often unsettling score would never have been allowed in the USSR a decade earlier, nor associated with the Second World War. The understated nature of the score contrasts with the unrelenting chaos on screen, allowing the film's sound design and the tragic performances of the cast to take centre stage. This affective turn also reflects a complication of Soviet victory in the final years of the USSR, reminding viewers of the immense cost of war and its terrible impact on civilians, and complicating the official and undisputed victory of the Second World War.

Sound and enhanced realism

Come and See is renowned for its innovative use of sound to create an alternative score in the "silence" of the music, and to accurately depict the soundscapes of wartime Belarus in an ersatz memorial and topographical representation of the Holocaust in the USSR. Director Elem Klimov and sound designer Vadim Yusov have created an immersive auditory experience that brings the horrors of war to life in a deeply visceral way. The film's soundscape is not just a background element; it plays a central role in conveying the emotional state of the protagonist, Florya, as well as the overwhelming environment of war.

Sound is used to convey a sense of overwhelming destruction, fear and the psychological trauma of war. Explosions, gunfire, screams and the sounds of destruction are omnipresent in the film, creating an auditory atmosphere that mirrors the physical and emotional devastation on screen. The intensity of the sound design heightens the psychological impact of the film, drawing the viewer into the experience of the characters. One of the most powerful moments in the film occurs when the sound of Florya's ragged and desperate breathing mirrors the frantic pace of his thoughts and emotions as he is thrust into the nightmare of war.

One of the most notable aspects of the film's sound design is the use of explosions and sudden bursts of violence. The sound of explosions is not just an auditory shock; it serves to represent the constant threat of violence that hangs over the characters. These sounds are often so jarring and overwhelming that they leave the viewer with a sense of disorientation and shock, much like the characters themselves. For example, the sounds of artillery fire and air strikes are used sparingly but effectively to emphasise the random, uncontrollable nature of war. The sudden explosions followed by eerie silence serve as a reminder of the fragility of life. The use of silence after explosions creates a sense of emotional numbness and dislocation, mirroring Florya's gradual emotional disintegration as he witnesses more and more horrors. This was realised for Kravchenko, who was terrorised throughout the filming of Come and See and even had to be hypnotised to get through the shoot.

The sound design is absolutely crucial in the scenes depicting the massacres of civilians. The sound of gunfire, screams and the chaotic rush of people trying to escape is intense and overwhelming. It reflects the horrific realities of mass violence and genocide. This is an early example of the confusion and perspective-driven sound seen in Holocaust films like Son of Saul and Run Boy Run (2013). The sound of death is unrelenting, a constant reminder of the brutality of the historical context. Klimov's cinematography captures final breaths, struggles in the swamps of Belarus and the sound of approaching bullets. Combined with microscopic shots of actors, it provides an immersive and personalised perspective of war.

Conclusion

The sound design and music in Come and See are central to its emotional impact and its status as one of the most powerful anti-war films ever made. Viktor Reznikov's minimalist and haunting score, paired with the immersive and overwhelming sound design, creates a visceral experience that mirrors the chaos, violence and trauma of war. The film's auditory elements powerfully convey the psychological devastation of war, both the immediate physical destruction and the long-lasting emotional scars it leaves behind. Come and See is undeniable proof of the power of sound in filmmaking. Music and sound design undoubtedly transcend traditional storytelling techniques. This creates a more profound and immersive cinematic experience.

Alexandra Birch, May 2025

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