They
call it the Great Patriotic War, but for the Soviet Union, it was really about
territorial conquest—even after Hitler broke the Molotov-Ribbentrop Pact. Just
ask the Baltic nationals who were imprisoned in Siberian gulags. Of course, the
prisoners had to be guarded by NKVD troops, diverting them from the war against
the Axis. Lina Vilkas and her family are among the waves of Lithuanians rounded
up and deported during Marius A. Markevicius’ Ashes in the Snow, which releases today on DVD.
Vilkas
should have been in art school rather than a work camp. She had talent, but she
was Lithuanian. Unfortunately, the NKVD learned her father had supported the
underground resistance, thereby landing his entire family in the gulag. Through
sheer luck, Vilkas manages to stay with her mother, younger brother, and
potential boyfriend during the transit, but they fear the worst for her father.
They also worry over her sickly young brother, because he is not likely to
survive without medicine and better rations. Her mother reluctantly accepts
some handouts from Nikolai Kretzsky, a NKVD guard who is regularly bullied by
his comrades, because he is half Ukrainian. However, she makes it clear he will
never get what he wants.
As
a chronicle of gulag survival, Ashes is
a little to too clean and palatable. Markevicius (who previously helmed the
terrific documentary The Other Dream Team
and produced The Way Back) and
screenwriter Ben York Jones certainly wanted to present the truth of the Soviet
camps, but it looks like the proper resources were lacking. On the other hand, the
film presents a cogently biting commentary on the nature of power through the
characters of Kretzsky and the ruthless commandant, Komarov. In fact, it is
absolutely chilling to watch Kretzsky slowly but steadily become that which he
most despises.
Peter
Franzen radiates menace as the cruel and manipulative Komarov, but Martin
Wallström is even more chilling as the increasingly soulless Kretzsky. Watching
the slow disintegration of his persona vividly illustrates why some people willingly
accept oppression and degradation. It is terrific work, but alas, the same
cannot be said of Bel Powley’s central performance as Lina Vilkas. The hard
truth is Powley is simply flat and lifeless on-screen. Admittedly, that would
make sense for Vilkas after the months and years have worn her down, but she is
like this right from the start (and during flashbacks).
Time
and again, Ashes visually echoes the
imagery of holocaust dramas, such as the over-stuffed cattle cars, screaming
camp guards, and the spartan, over-crowded barracks. Ultimately, Markevicius is
undercut by insufficient resources and a weak lead but he still makes some
salient points about the nature of statist regimes. It is smart and insightful,
despite feeling small in scope. Recommended for younger, general audiences, Ashes in the Snow releases today (5/14)
on DVD.
