The Ascent (1977) — Soviet interpretation of Jesus Christ by Larisa Shepitko

A look at one of the best movies about World War II, directed by the Soviet filmmaker Larisa Shepitko.

World War II was one of the most popular topics in Soviet cinema production. Many movies about WWII served as propaganda tools to remind the people about the Soviet victory and heroics in this war. While the idea was not always on point, the execution of these ideas usually turned out well due to the talented cast of actors.

The Ascent, directed by Larisa Shepitko, was a different view on the war horrors, based on the novel Sotnikov, written by the WWII veteran Vasili Bykau. Shepitko presented a very controversial movie that barely made it to the cinema screens, passing Soviet censorship. The censors were critical of the display of Christ’s image in an atheist state that was strongly against religion on all levels. If not for the high praise from the former Belarussian partisans who held high positions in the government at the time, Shepitko’s masterpiece would have been left on dusty shelves for several years.

From the right: Boris Plotnikov (played the role of Sotnikov) and Vladimir Gostyukhin (Rybak). Source: 1tv.ru

The storyline of this movie might seem pretty much ordinary for the wartime realities. Two Belarussian partisans, Rybak and Sotnikov, get a task from the commander — bring food for their group of partisans that was driven to the forest after a skirmish with Nazis. On their way to a nearby village, partisans found it destroyed, and they continue to wander around in the freezing cold until another unlucky meeting with Nazis. Sotnikov gets shot, but his comrade saves him.

Rybak takes his wounded comrade to the closest home in the area, but once again, they face an encounter with the Nazi soldiers and a local member of the collaborationist police. Partisans get arrested, and the Bible-inspired story can begin.

During the casting process, Shepitko looked for a Jesus Christ look-alike for the role of Sotnikov. Of course, the such intention was never said out loud at the time. It was also important for the director of The Ascent to see the roles of Sotnikov and Rybak played by unknown actors. As you can imagine, Shepitko made the right decision by choosing Boris Plotnikov and Vladimir Gostyukhin to form this duo of Jesus-Judas partisans.

They brought great charisma to this simple yet emotional story of the choices made under the threat of death. Is it worth giving up moral principles to save your life by serving the enemy? For a soldier, the answer should be obvious. At least, most war movies would portray the idea with a dose of pathos that hero must die young and courageously. Shepitko looked deeper. War is ugly, and situations and people become ugly, driven by the most basic instincts, such as fear. WWII had plenty of atrocities — The Ascent displays these atrocities happening inside the human mind and soul.

The key difference between the characters of Sotnikov and Rybak is the perception of death. It gives the foundation for their behavior. After Sotnikov gets shot, at one point, he sets himself free of fear. He is ready to die even when there is a chance to sell his soul to Nazis and save his life. Rybak, on the opposite, wants to survive this war. He’s not completely a coward or an evil character. Rybak took care of his comrade when Sotnikov was freezing and did not leave him when the Nazis attacked. He’s an ordinary, slightly hot-tempered soldier. However, fear overtakes his mind, and he’s willing to make a pact with the devil.

Anatoly Solonitsyn in the role of Portnov. Source: 1tv.ru

This story also features the figure that resembles Pontius Pilate — the Roman governor who ordered the crucifixion of Jesus Christ. In The Ascent, the role of Pilate is embodied in the character of Portnov. A former village club-house director who became a servant and chief of collaborationist police for Nazis. Anatoly Solonitsyn brilliantly played the ultimate evil, a devilish figure of this intelligent but evil man. He managed to convince Rybak to sell his soul.

The Ascent is not a typical war movie. It is a semi-religious, psychological drama. Very moving, and emotional, yet nothing stands out aesthetically. You can sense the cold in everything. The actors and filming crew went through this freezing journey, almost living in a war-like atmosphere themselves. The movie is black and white, and it lacks almost any action scenes or portrayals of battles. Still, it leaves a powerful impression and gives an understanding of why the Soviet Union managed to beat Nazi Germany. The sense of self-sacrifice played a big part in this war. There were plenty of episodes when Soviet forces stormed the front lines and cities, sacrificing a large number of soldiers to achieve victory in the end. No mercy, overcoming the fear.

Intentionally or not, Larisa Shepitko was able to direct a movie with Biblical characters in an anti-religious state and make even the lifelong Communists give standing ovations. It takes some talent to achieve this. Due to its specific, near-arthouse style, The Ascent did not become a hit nationwide that was replayed on national TV every year in remembrance of World War II. Still, The Ascent became one of the trademark works of Shepitko, and the film won the Golden Bear award at the Berlin Film Festival in 1977. To achieve this, Shepitko herself spent hours in the freezing cold to live through this story with the actors, never letting them give any false emotions. 10/10 for the idea, effort, and execution! The Ascent is a timeless masterpiece.

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