The complex story telling methods that are employed by the writers and directors of film often use advanced queues and devices that break the linear quality of time as is experienced in reality. The sequence of events is broken up into non-linear segments that are arranged to emphasize elements of the story or to increase an emotional response such as curiosity or anticipation. The use of time in this manner is common place amongst film produced by major studios, which consists of the vary majority of main stream films. Steeped in this film environment, the use of time in Come and See is initially difficult to handle but after some time, the value of this challenge is realized.
The film's story plays out in a linear fashion that is not broken by advanced story telling techniques. Each event that comes before has happened in the chronological past and each event in the future will happen later into the film. While this is a simple plot construction, it can be interpreted in many different ways with interesting side effects.
The linear plot aids in conveying a sense of realism. The audience is following Flor through his trials and tragedies in order in which they occurred. The audience does not have the privilege to no more about the plot than Flor does. There is no hint of resolution or outcome. The audience is bound to Flor and his struggles, just as Flor is bound to his future. He does not have a good sense what will happen and is often not in control of his current and future situation. Much in the same way, the audience is bound in time to Flor and forced to experience a similar emotional reaction. In this case the use of time in Come and See emphasizes the realism and unwavering progression of time.
A sense of restriction can also be felt from the use of chronological story telling. This is especially so during the sequences in the conifer forest. In this situation, it is visually as well as temporally confined. This device can be interpreted as another attempt at forcing the audience to experience the inflexible and overwhelming sense of desperation that Flor must have felt during is time in the war. By not allowing the audience to jump forward and back in time Comest See overlays the visually cramped images with an inescapable linear progression of time.
Another aspect of time is the duration of actions. Many simple actions take much longer in the film than they would in reality. Specifically, how emotions are extended through time. There are several close up shots throughout the movie that show the characters' head. The face is emphasized by taking up the majority of the space on the screen. Small facial features and micro-expressions can be see clearly this way. One thing to note is that during these frames, the character's emotion is static and not transitioning into other emotions. For instance, if Flor is scared, a close shot of his face will extend the emotion through time while remaining fixed on the emotion of fear. The emotion is captured by slowing it down and visually magnifying it. This device is functions as a photograph would; capturing a moment in time.
These properties of the close up shots during an emotional reaction offer a great deal of material to interpret. One interpretation is that during the late 1930s and early 1940s, the primary medium for visual communication was through photographs. Film was used but had many limitations that restricted it to specialized units with highly trained personnel. A great deal of visual representation of World War II is through photography. The emotional close ups may be an allusion to the photographs that captured the events as they happened in World War II.
Come and See provides many insights into the Soviet identity and how it differs from that of the West, specifically, the United States. Specifically, the relationship between the individual and the group, and the driving forces behind many of the archetypical characters, and the role of the hero.
In Come and See, the ideals of Communism are presented to the audience for the first time when during the arrival of the two Partisan fighters to Florian's village. During this scene, the overlay of Communist ideals onto an older pastoral living style are explored. Through Soviet Communism, the goods and services produced and provided by the masses are owned by all members of the government. This form of Communism, ideologically speaking, strives to distribute all goods and services throughout the community equally, but in practice, the system collapses into a corrupt oligarchy, the rule by a central group of individuals. This is displayed as Flor is given up to the Partisan fighters. While, Flor wanted to go, it is clear in this scene that his mother and siblings do not want him to go but hold back all practical resistance in order to honor the ideals of communism. Flor represented a resource for the larger war effort and was enlisted for use.
Later, Flor's shoes were taken from him to be used by an older fighter in the Partisan militia. Also Flor is assigned extra duty by the commander. Despite the hard labor, hunger, and cold, Flor never decided to quit and engage his self-preservation instincts. Instead, these are overridden by the Communist ideals. Throughout Come and See, the needs of the individual are eclipsed by the needs of the group at the judgement of those in charge. This is a prime example of what social behavior is viewed as 'good' by the Soviet mindset. In order to be a 'good' communist, one Flor must adhere to behave in this way.
Each of the characters in Come and See represent a number of Soviet archetypes. The character of Florian can be interpreted as the ideal Soviet youth, who is willing to serve Mother Russia under any circumstance. Flor takes pride in his willingness to serve. The commander of the Partisans is an ideal Soviet leader, hard, practical, and experienced with a strong bond to patriotism and fighting for the Soviet Union.
Come and See presents the audience with some insight into the Soviet ideas that surround the hero figure in story. In the United States, the hero of many war movies are show as strong white middle aged men who are skilled at using weapons and usually get involved with some leading female role. This is a very individualistic hero figure with good things happening to him after he defeats the antagonist. Come and See has none of that. Instead, the concept of a hero is less obvious. The final shot of the film is Florian disappearing into a crowd as they head deeper into the woods. Flor is not placed on a pedestal and exalted as a hero for what he did. The audience does not see him as an older man, married with kids. Nor do they see him receiving any award or recognition for his efforts. He just assimilates into the crowd.
This shows many aspects of a Soviet 'hero'. The ideal hero is one who is willing to devote everything to the cause of the group and be willing to die for that cause. Also, the Soviet hero is not given anything that will benefit the individual. These ideas all tie into the Communist ideas during the Soviet Union in the 1980s. As a prime example of Soviet realism, the social concepts of the role of the individual, archetypes, and the ideal hero are displayed in Come and See.
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