【电影简介】

1942年，斯大林格勒。苏联军队根据作战计划向盘据伏尔加河左岸的德国军队展开反攻，然而反攻受阻，只有格罗莫夫大尉(彼得·费奥多罗夫 Pyotr Fyodorov 饰)率领的几名侦察兵渡过到了对岸，并固守在一栋三层楼的房子里，他们临危受命要不惜任何代价守住这栋房子，除了另外几名奇迹般幸免的苏军士兵外，他们遇到了这栋房子的最后一位住户——19岁的卡嘉(玛丽亚·斯莫尔尼科娃 Mariya Smolnikova 饰)。德国军官卡恩(托马斯·克莱舒曼 Thomas Kretschmann 饰)奉命要夺回这栋被对手占领的房子。

【音频文本】

Between the summer and winter of 1942, nearly two million lives perished on the battlefield of Stalingrad.One of the bloodiest battles in the history of warfare, the battle of Stalingrad has been immortalized in movies by Germans, Russians, British and American filmmakers. The latest of such efforts is the work of Russian director Fedor Bondarchuk.

The story by Ilya Tilkin revolves around two Russian girls with starkly different fates. Young Katya is protected by a group of Russian soldiers who defended a house on the bank of the Volga River. Meanwhile, Masha is protected by a German officer who led the attack on the house. During the stalemate between the two sides, the relation between the girls and their protectors transformed through different stages.

The opening and closing scenes are excellent showcases of what IMAX 3D cinema can offer. The shot of Russian soldiers charging into battle while on fire is particularly touching and jolting. These aren't the onlytwo stand-out eye-catchers in the film; photographer Maksim Osadchiy also made the best of IMAX, presenting each frame like a painting. Similar exhibition of such filming skills is only found in the works of DongJinsong, who shot "11 Flowers" with director Wang Xiaoshuai.

The tone in the pictures strengthens the emotions in the story, and these emotions are typical in Russian literature. The character of Katya represents innocence and is immediately identified as a symbol of Russia. But a less conspicuous symbol is found in Masha, who is, in fact, a far better symbol of the Russian spirit. Living in a German-occupied part of the city, Masha is coerced by the German officer. But with her beauty and endurance, she was able to charm her persecutor and remind him of the peaceful days back home. In this way, the conquered became the conqueror, which is exactly what happened on the Eastern Front, wherethe German invaders were "embraced" and gradually smothered by the vast territory and harsh environment ofRussia.

Director Fedor Bondarchuk is less deliberate on his anti-war agenda, but more determined to present an intimate and humanistic perspective. His attempt to revisit the historical battle via human relations is quite innovative and effective, especially the one between the German occupier and his captive. However, on the other side of the front, the director has had some difficulty sorting out the relations between Katya and the five Russian soldiers; that's the only and biggest setback in this otherwise spectacular piece.

On a scale from one to ten, Fedor Bondarchuk's "Stalingrad" deserves a seven.

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