Hellen I like the storyline of this show,it attract me so much

Evengyny Thanks for the memories!

Steineded How sad is this?

Intcatinfo A Masterpiece!

kril10 It is understandable why Commissar was banned at its original 1967 release. Chronologically one of the latest films that can be classified as a "Thaw film," it takes the theme of the "individual over the collective" and extended it into dangerous, perhaps even un-Soviet territory. Despite deStalinization, the Soviet Union and its Communist ideals still stood—the collective was still to be seen positively, and the pure, militaristic attitude of the people was still important. By introducing Commissar Klavdia as an emotionless, militaristic "maiden" with male mannerisms at the beginning, and proceeding to reveal her personal, human side through her feminineness, pregnancy, and change of clothing as she was cared for by a Jewish family, the film interprets the Revolution as a "softening of Communist values." By changing Klavdia from the officer who ruthlessly sentenced a Red deserter to the tribunal at the beginning to being a scared, doubtful mother who seemed unsure of whether or not the new regime would bring "trams and success" when the idea was challenged by Yefim, Commissar, is questioning the validity of Leninism altogether! It becomes a defiance, not a "Thaw" reinterpretation, which is why it likely got banned. Another huge factor to its banning may have been the heavy sympathy for the Jewish faith that it evokes—anti-Semitism was prominent in the Soviet Union even after Stalin. Once it was released under Gorbachev however, the film was allowed to intrigue viewers with its whirling camera shots depicting Klavdia's flashbacks, and its interest in the effects of the Revolution on the psychology of children, by showing how messed up kids got under switching regimes. Understandably banned during its time, but it is a good film about the Revolution nonetheless.

eluriajen The Komissar is successful because it is thought provoking and evokes emotion from the viewer. Interestingly, although this film deals with a Jewish family and various issues of Judaism, the careful observer notices that the film is also full of symbols of Christianity. In fact, there are so many of these examples that it leads the viewer to wonder whether the filmmaker may have intended to make a commentary on the relationship between Judaism and Christianity. Although modern Christianity and Judaism are quite different from each other, they have very similar backgrounds. Indeed, prior to the birth of Jesus, they were both one religion, and became separate because Jews refused to accept Jesus as the Messiah, while Christians believed that his life was the fulfillment of Old Testament prophecy.Some of the Christian symbols in the film are less conspicuous than others, and blend into the film seamlessly. For example, there are several scenes in the film that show crosses in the background. At one point the camera focuses on a cemetery that is filled with crosses. There are also crosses on top of churches in many scenes. The connection between Judaism and Christianity is apparent in the fact that in one scene the focus shifts back and forth between a Jewish synagogue and a Christian church, which are both being boarded up.The beginning of the film is marked by the perspective of the two female characters, Klavdia and Maria, regarding pregnancy and childbirth. It is significant that Klavdia was an important military figure, but was forced to give up her command because she was pregnant; this would obviously never happen to a man. Although Maria has six children, she talks openly with Klavdia about the pain of childbirth, stating that it "is not good for the mother, the child, or God." The scene where Klavdia gives birth further emphasizes the pain of childbirth. In both Jewish and Christian history, the pain of childbirth is a consequence that God gave to women in response to Eve's decision to tempt Adam with the forbidden fruit in the Garden of Eden.There is one scene in the film that is particularly touching because it reveals the depth of the relationship between Yefim and Maria, who do not show such blatant affection at any other point in the film. This is the scene where Yefim washes Maria's feet. As he does so, he looks up lovingly into her eyes, and says, "I love you." This scene is both tender, and also a little shocking because throughout the rest of the film Yefim is portrayed as brusque and a little rough around the edges. This is the one time in the film when the viewer is allowed to see through his exterior. It is interesting that the filmmaker chose to use the washing of feet as the interaction between the two characters during this personal moment. The washing of feet is a symbol that relates directly back to Christianity and the Bible, bringing to mind Christ washing his disciples' feet before he was crucified.The film ends with Klavdia's decision to leave her baby with Yefim and Maria. This seems ironic because their relationship did not start out well – Yefim was outraged that Klavdia was taking a room in their house and did everything that he could to resist. Despite the circumstances, however, a friendship developed between the characters, and they learned to trust, and even to like each other. Klavdia chose to leave in order to protect her child, and also the family that she had come to love. She sacrificed herself in order to protect the other characters. Again, this situation seems to parallel Christianity; Christ sacrificed himself to protect his followers.While the main characters of this film are Jewish, it seems noteworthy that there are so many similarities between different aspects of the film and Christianity. If it were only the crosses that served as symbols of Christianity, that might be dismissed as part of the setting of the film, and irrelevant to the story. There are, however, so many different parallels and religious undertones (particularly Christian) that it appears that they should be significant.

MikeH111 Don't be tricked by the rating. This movie is wildly, unforgivably underrated on IMDb. To speak of its beauties would take me volumes. Suffice it to say: find it, if you can (it may be still available in good video stores, on VHS) and be enthralled by one-of-a-kind movie. As opposed to overrated 8+ 9+ c... like American Beauty or the Korean Oldboy and other movies full of either vapid pomposity or of guts and gore and blood and nonsense, Komissar is an extraordinarily beautiful and fluent meditation on human nature, war, religion, childhood, good and evil. Miss it at your own peril.10 out of 10

Dilip Barman I saw "Komissar" as part of a local Jewish Film Festival. It is a black and white film that focuses on a commander on the Red side of the Russian Civil War, Klavdia Vavilova, who finds herself pregnant with the baby's father dead in battle. Unable to continue the fight, she is thrust upon a poor Ukranian Jewish family, who are told to provide her lodging.The family takes her in (what choice do they have?) but soon their heart-felt sharing and kindness become obvious. When the Reds are retreating in a White advance, the danger is clear - were Klavdia found out by the Whites and identified as a Red komissar, the whole family could be executed. On the other hand, as the husband, Yefim Mahazannik, resignedly and clearly describes, the Jewish community can't expect good treatment from any Russian government at the time. In any case, the family asks her to stay, whether the village is under Red or White control.The story is stark, as can be expected from the setting. I enjoyed the performance of Raisa Nedashkovskaya, playing the role of the wife, Maria (isn't this much more a Catholic name than a Jewish one?). Her cheerfulness and kindness provide a welcome reprieve from the grimness of the film, as does, to some extent, her husband Yefim's incongruous singing. Even Maria and Yefim's children are forced to grow up quickly; I found disturbing their play-acting of the military harassing and killing Jewish people.I was surprised when the film ended; to me it was sudden and missing at least one or more final scenes. (I understand that the original 1967 film was actually not finished till the 1980s or 1990s. Apparently, the film was also banned in the former Soviet Union until Glasnost.) "Komissar" leaves one with silence and not hope for the Russian Jewish peasants and laborers, or any kind of vision of a peaceful and productive future for anybody.I did enjoy the skillfully subtle camera angles and landscapes. The actors gave strong and convincing performances. I also appreciated that the film could have justified being quite violent, but instead left most of the violence suggested and not graphic. Overall, I'd give the film a rating of 5 out of 10 - neither good nor bad, giving a good and perhaps realistic view into this period of history, but lacking a stronger plot.