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Why We Fight: The Battle of Russia
Why We Fight: The Battle of Russia

Why We Fight: The Battle of Russia

19431h 23m★ 6.8ドキュメンタリー戦争

あらすじ

No synopsis available.

作品考察・見どころ

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スタッフ・制作会社

監督: アナトール・リトヴァク / フランク・キャプラ

音楽: Dimitri Tiomkin

制作: フランク・キャプラ

撮影監督: Robert Flaherty

制作会社: War Activities Committee of the Motion Pictures Industry / U.S. War Department / U.S. Army Special Service Division

口コミ

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キャスト

Anthony Veiller
Anthony Veiller
Narrator
No Image
Ion Antonescu
Self
Николай Черкасов
Николай Черкасов
Alexander Nevsky
No Image
Miklós Horthy
Self
No Image
Alfred Jodl
Self
No Image
King Boris III
Self
No Image
King Michael
Self

TMDB ユーザーのレビュー

CinemaSerf
CinemaSerf
★ 7

For some reason, I always felt that this front of WWII was always the most horrendous, and this two-parter goes some way to poignantly illustrating that. Using a combination of animated maps and plenty of wartime newsreel, it takes us into the heart of the Soviet Union as the encroaching Nazis crushed all before them. It’s striking that though much of Western Europe was industrialised, the population facing this onslaught was a largely agrarian one still using scythes, horse-drawn ploughs and with little access to electricity. Initially, this looks like it’s going to be a cake-walk for the invaders, but when they arrive at Stalingrad they find that the population have regrouped and doubled their efforts, in spite of the sub-zero conditions and lack of supplies and ordnance, and together with supplies from the British and the Americans are now starting to make their own presence felt. The second part of this documentary focuses a little more on the fight back and leaves us with some degree of optimism that there might be light at the end of this very, very, long winter. The actuality here is really potent and augmented by a narration that avoids jingoism and sentiment and let’s the imagery speak for itself. Sure, it does have a propagandist function to an extent, but when you see the starved bodies of young children, or the raped ones of young women alive and dead, then you don’t really need anyone in a sound booth to describe what you can see or what to think about it. It’s clearly intended for an American audience and effectively extols that principle that the enemy of my enemy is my friend - regardless of doctrine.

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