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

This Movie Can Only Be Described With One Word.

This is a must-see and one of the best documentaries - and films - of this year.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

it is strange to write a review about this film out of words. memorable images. drawing of civil war. propaganda under a special atmosphere. delicate emotions. brutal Manichean. a film about basic values in poetic clothes. because it is difficult to bot discover it like a kind of poem. patriotic, sure. but, in fact, only deep bitter. a movie about broken world. about silhouettes of existences. about death , orders, and sacrifice. a gloomy scene. and cloudy pieces of events. not heroes. only victims. so, final impression, in my case remains a Christian work. in which the Reds are promoters of Cross law. as martyrs. as proofs of Resurrection. as fragments of unique beauty of things. must see it ! for the subtle delicacy of its essence.

Some points...1. Though Miklos Jancso's "The Red And The White" takes place in 1919, when Hungarian irregulars supported the Communist "Reds" in fighting the Tsarist "Whites" along the Volga River, the film deliberately ignores any political or historical context and instead goes to great lengths to blur the identities, objectives and motivations of its various characters.2. The film lacks characters and plot. Instead, Jancso gives us war as cosmic ballet, the audience witnessing the ever-shifting balance of power between sides, a constant and repeated cycle whereby the defeated become victors and victors the defeated. Jancso emphasises this process by highlighting the various parallels between the two sides; the way they both perform the same rituals of humiliation, vengeance and forgiveness throughout the film.3. The film is positively radical in the way it unfolds. Imagine an expansive landscape adorned with forts, forests, farms and villages. Now place clusters of troops, prisoners and civilians on this landscape and set them in motion. Finally, imagine a constantly moving "God's Eye" camera that floats above this landscape, gliding from one location or group of people to the next. There is no "story" here, only a constant state of flux, Jancso inviting us to become disembodied God's who study the rhythms of combat and the rhymes of war.4. Characters enter the story as quickly as they leave it, their deaths occurring off-screen or at a cold distance. There is one character who ties the whole film together, however, appearing in the first scene and the last, but never really assuming a central role. He is a Hungarian played by András Kovák, a familiar figure in Jancso's filmography. Significantly, he's given a key statement in the film: "A man can fight and still be human." 5. Whenever a group of soldiers is conquered, the victors force them to strip and run away semi-naked, often sniped as they do so. Throughout the film, these acts of ritualised degradation are protested by ancillary characters. One symbolically hands back his rifle, one refuses to aim properly during an execution, one stops the rape of a peasant woman and one stops the execution of their own soldiers for "cowardice". The message: "a man can fight and still be human."6. The theme that Jancso stresses throughout the film is the cyclical and futile nature of war. In the opening scene a Red soldier is shot by a White Cossack while his comrade makes an escape back to base, where it is a Bolshevik commander who is now holding captured White troops at his mercy, whom he releases at gunpoint, but not before relieving them of their uniforms. Yet within minutes, White troops have stormed the Red base and the communists are being forced to undergo the same humiliation of fleeing for their lives naked. This continuing shift of power and authority in the blink of an eye continues throughout the course of the film, on an increasingly larger scale; eventually captains are shooting captains and companies killing companies. This dynamic equilibrium and the waste of life becomes maddening to the point of exasperation, yet effectively depicts the pointless carnage and cost of civil war.7. Jancos is constantly highlighting the randomness of combat. For example, one officer is picked up for execution but is randomly saved when another officer arbitrarily sends him away. Time and time again, little "flukes" occur which either spare lives or result in deaths.8. Janco's later films became very rigid and almost motionless. But here, like most of his films throughout the 60s and 70s, his camera is always in motion. The film is comprised of huge long takes, his moving camera chartering massive chunks of land. Of all the masters of this style - Ophuls, Tarr, Mizoguchi, and Angelopoulos - no one has ever taken it to the level Jancsó achieved, perhaps because he is determined not to explore the inner motivations of his characters. He is more interested in external motion as meaning.9. The choreography here is exquisite.10. The film stresses how victory leads to senseless humiliation, both for the winners (due to an absence of larger military goals) and the losers.11. In one scene, a brigade removes their jackets and runs hopelessly downhill toward a group of similarly white shirted soldiers. It's a point made by many war films - everyone wears the same uniform, there are no sides – but effective all the same.12. The film ends with a close up shot of a soldier's face, the audience asked to recognise the sorrow in his eyes. This "final war movie shot" has become a cliché and I don't think it works here. Why not end the film one scene prior when the army charged headlong – with futility – down a hill? Why abandon the detached aesthetic of the rest of the film? 9/10 – New DVD releases of this film add an explanatory title card along with a silly scene in which horses charge toward a camera, before the beginning of the film. Ignore these additions completely. Worth two viewings.

Just a little recap. March 2nd 1917 Nicolas II is thrown out of power and a Provisional Government is formed. March 5th another provisional government formed. October revolution led by Lenin to throw the provisional government which results in a civil war to end in three years with the formation of USSR, a republic under VI Lenin. The white army was basically supported by Ruling class and Red Army was peasant's army. The backdrop of this film is the civil war at its peak during 1918 and characters are the victims or victimizers.The whole film is just confusion. It took me a long time understand who's who and what's what. I think thats what the intention of the director is because thats what was going on in Russia in 1918. The whole confusion of who's killing who and for what reason is so beautifully captured in the film. Its a unique film. There is no central character. There is no story but if you have a little sense of history or film-making you wont move for one and a half hour. The whole concept of lawlessness is pictured with such a brilliant finesse. By the time you sympathize with a character that story or the character itself is dissolved. Every scene is unique and has some kind of a surprise element. There is nothing which can be remotely termed as artificial. There are lots of things which are very interesting to notice. People are lined up in almost every scene, none of the persons who is be shot runs away or beg for mercy, its about Russia but from Hungarian point of view etc. Should be viewed by history students across the globe. 10/10

War--chaotic, insane, inhumane, useless, and... calmly graceful? We of the Hollywood diet like our plates full with spastic editing, grippingly colorful images, and fast approach, but none moreso than with war movies, with Tom Hanks surrounded with shrapnel suddenly going surreal on us, or Martin Sheen slowly falling into mental chaos whether in the midst of battle or trapped in a room away from it. What we are not used to are long, slowly moving traffic shots as pretty much faceless groups of soldiers alternatively gain and lose ground, each performing their own atrocities and each making themselves no better than the others, but each the subject of a listless and uncaring camera that seems just as ready to focus on a blade of grass calmly waving in the wind as a troupe of men about to be slaughtered.To add to this effect is the fact that half the time, the viewer hardly begins to establish his or herself with a character before the character is removed from the story. It definitely works to show the arbitrariness of war... it might not work so well with ingratiating the audience with the movie. With no characters to care for, well... sometimes it's hard to care so much.But otherwise it's brilliant, magnificent, and... sort of epic, in a contained and concise way. What I want to know is how they pulled off the sound. The sound is always very spot on to the activities going on, but are so perfect, even in long shots, that it makes a complete mystery of where they possibly could have put the mic. Fascinating, in case the rest of the movie isn't.--PolarisDiB