The Ascent full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

During the Great Patriotic War (World War II), two Soviet partisans go to a Belarusian village in search of food. After taking a farm animal from the collaborationist headman (Sergei Yakovlev), they head back to their unit, but are spotted by a German patrol. After a protracted gunfight in the snow in which one of the Germans is killed, the two men get away, but Sotnikov (Boris Plotnikov) is shot in the leg. Rybak (Vladimir Gostyukhin) has to take him to the nearest shelter, the home of Demchikha (Lyudmila Polyakova), the mother of three young children. However, they are discovered and captured.

The two men and a sobbing Demchikha are taken to the German headquarters. Sotnikov is interrogated first by local collaborator Portnov (Anatoli Solonitsyn), a former Soviet club-house director and children's choirmaster who became the local head of the Belarusian Auxiliary Police, loyal to the Germans. When Sotnikov refuses to answer Portnov's questions, he is brutally tortured by members of the collaborationist police, but gives up no information. However, Rybak tells as much as he thinks the police already know, hoping to live so he can escape later. The headman, now suspected of supporting the partisans, and Basya Meyer, the teen daughter of a Jewish shoemaker, are imprisoned in the same cellar for the night.

The next morning, all are led out to be hanged. Rybak persuades Portnov and the Germans to let him join the police. Sotnikov and the others are executed.

As he heads back to the camp with his new comrades, Rybak is vilified by the villagers. Realizing what he has done, he tries to hang himself in the outhouse with his belt, but fails. A fellow policeman begins calling for Rybak until Rybak opens the door. The policeman tells Rybak that their commander wants him, and leaves Rybak alone in the courtyard. Rybak stares out the open camp door. He begins to laugh and weep.

• Boris Plotnikov as Sotnikov
• Vladimir Gostyukhin as Rybak
• Sergei Yakovlev as Village elder
• Lyudmila Polyakova as Demchikha
• Viktoriya Goldentul as Basya Meyer
• Anatoli Solonitsyn as Portnov, the collaborationist interrogator
• Maria Vinogradova as Village elder's wife
• Nikolai Sektimenko as Stas'

Pre-production

All motion pictures are personal but the desire to film The Ascent was almost a physical need. If I had not shot this picture it would have been a catastrophe for me. I could not find any other material with which I could transmit my views on life, on the meaning of life.

—?Larisa Shepitko

Before The Ascent, the director Larisa Shepitko shot the film You and I. The filming took place under an atmosphere of severe stress. Technical and organizational difficulties led to the necessity of calling the ambulance for the director’s health care. The release of the film was not any easier; the censors deleted critical scenes and Shepitko had to fight for every single one of them. This struggle was not always successful. Despite the fact that the film was one of the prize winners at the Venice Film Festival, the removed scenes were a terrible blow to Shepitko, who believed that changing an important moment leads to the loss of main ideas.

For Shepitko it was a difficult time after the film's release. By her own admission the director was for the length of four months in "a monstrous mental and physical exhaustion." The realization what was subsequently necessary came to her suddenly when she was recuperating at a Sochi sanatorium, but her creative plans were undermined by a disastrous fall, which led to a serious concussion and a spinal injury. For a few weeks Shepitko was confined to bed. The situation was also aggravated by the fact that she was preparing to become a mother, but it was during her pregnancy that she came to an astute understanding of life in its whole complexity. Every day she was haunted by the possibility of death and reading the novel Sotnikov by Vasil Bykov in this period helped Shepitko express this state on the silver screen.

Screenplay

For the most part the screenplay written by Yuri Klepikov follows the novel. Shepitko turned to Klepikov on the recommendation of her classmate Natalia Ryazantseva but he was already busy working on another script. Basically Klepikov did not refuse but he asked to postpone working on The Ascent for a week. Shepitko urged him to start work immediately and one telephone conversation with her convinced him to drop everything he was doing. Klepikov by his own admission "could not withstand the energy of the typhoon whose name was Larisa" and started the task of revising the literary foundation which he later described as "a piping philosophical parable which combined the high spirit of man with his obvious desire to keep the body as a receptacle of the spirit ". The result of the work became a 70-page script that Shepitko then meticulously edited. Shepitko practiced the "engineer's" approach: she did not tolerate uncertainty or haziness in work and did not rely on director’s improvisation or creative inspiration. Every frame, every remark, every scene was carefully checked and aligned in advance. According to Yuri Klepikov even "the fruitful spontaneity was due to the very environment of the shoot," which was ensured by the carefully crafted script.

When adapting the script from Sotnikov the main concern of the director was not to lose the deeper philosophical content of the story. While the literary work by Bykov was full of sensual details like "icy cold", "famine", "danger", Shepitko strongly discouraged attempts to be satisfied with external action and demanded an "internal justification" of each movement, gesture and glance of the heroes. In order to express the spiritual states she often had to deviate from the literary basis. For example, in the finale of the story Rybak decides to hang himself in the latrine but discovers that he forgot to ask back for the belt which was taken by the policemen an evening before. Theoretically the film could portray the absence of the belt but then according to the writers the scene would be limited to the designation of the circumstances: informative but unimpressive denial in terms of the artistic sense. The authors "returned" the belt to Rybak but he was deprived of the ability to hang himself; implying that even death refuses a traitor. Their idea was to leave Rybak alone with the knowledge of his fall. The following long close-up of majestic nature signified the freedom which Rybak desperately desires and was intended to emphasize the utmost despair "of a person who lost himself".

Shepitko's husband Elem Klimov invented the film’s title. Long ago in 1963, a tradition was established between the future spouses that for a good idea he would receive ten rubles. When they just started dating, Klimov came up with the name for Shepitko’s thesis film – Heat. Shepitko and Klimov decided to continue this playful approach of rewarding each other but after all the years of their union the Klimov alone received the ten rubles and only twice: for Heat and for The Ascent.

Beginning of Production

The next step was the need for the script’s approval from the State Committee for Cinematography. By that time Shepitko already gained a reputation of an "inconvenient" director and back in 1973 when she only raised the topic of making the film the answer from an official of the State Committee for Cinematography came back as a firm negative. The director did not make a confrontation but she also did not offer any other projects. Throughout her directing career Shepitko only started working on films if she felt that "if she does not do it, then she dies".

For help in overcoming the resistance of the authorities and the State Political Directorate, Shepitko turned to Gemma Firsova with whom she studied at VGIK who was an administrator of an association of military-patriotic films. Firsova was affected much more by the script than the novel and the same day went to the meet the Minister of Cinematography Philippe Ermash. In a conversation with the replacement of Ermash (in her memoirs Firsova did not call Boris Pavlenok by his name) Firsova said that she takes the script under her responsibility, with a lie that "everything will be fine with the State Political Directorate". Ermash’s replacement reacted skeptically to the pleas, and the subsequent process from approval to acceptance of the film’s actors, was accompanied by considerable difficulties. The main accusation was that Larissa allegedly made a "religious parable with a mystical tone" from the partisan story that which was insurrection to the atheistic Soviet cinema. Shepitko retorted that she is not religious and that a story about betrayal is antediluvian. According to her, Judas and Jesus have always existed and that if the legend connected with people then this means that it is alive in every person. Officials met Schnittke’s score with resistance and they ordered to remove the allusions to biblical texts.

From the moment she read the story Sotnikov, it took Larisa Shepitko four years to prepare and to obtain permits from the authorities to start shooting the picture.

Casting

Shepitko decided to use unknown or little known actors whose past roles would not cast a shadow on their characters in The Ascent. Because of this, she had to reject Andrey Myagkov who really wanted to act in the picture. The same fate befell Nicolae Hubenko. Vladimir Vysotsky who yearned to play Rybakov and because of that experienced jealousy towards the other candidates also did not pass the selection. At the time when the castings for The Ascent were taking place, Vysotsky was starring in the film The Negro of Peter the Great The filming took place at the "Mosfilm" sound stage, adjacent to where the castings were held, and during his breaks Vysotsky often went to see what was happening at Shepitko’s sound stage.

From the beginning of the search for the actor who would play Sotnikov, Larisa Shepitko instructed Emma Baskakova, her casting assistant, to keep in mind the image of Christ, although it was impossible to mention this out loud. Boris Plotnikov, a 25-year-old actor of the Sverdlovsk Theater turned out to be the best candidate for the role according to the director, but the officials of Goskino saw in Shepitko’s plan the intention to "drag Jesus on to the Soviet screen". Plotnikov whose repertoire until then largely included the roles of magical animals, even had to be made up for the purpose of greater glorification of the character so that the artistic council would approve him for the role. The actor went through seven test shots altogether for which he always had to fly to Moscow from Sverdlovsk.

For the role of Rybakov the director s