Alexandra [2007] [DVD]

Please ignore the 'lonely granny' review; this is quite simply one of the greatest films you will see. Sokurov allows for mystery and contemplation, but like Ozu, Sokurov is, I suppose, not for everyone. If Ozu's films are 'just about some boring Japanese family', then Alexandra can similarly be reduced to some misguided plot description. I'd say it's about what it means to be a soldier, what it means to not be a soldier, what it means to be a man, what it means to be a woman, what it means to be young, what it means to be old, what it means to be a human being. No answers, just a journey.

I fail to see the argument in the various poor reviews here. So, as a disclaimer, if you do not like foreign films, subtitles, and moving, thoughtful works that do not feature action, love scenes, or well-known actors, then do not bother to watch this film. Please.
This Russian film stars 73 year old Galina Vishenevskaya, a famous opera singer, as the title character. Made in 2007, during the Second Chechen War, waged by the Russian government, against separatists in the Caucasus. Aleksandra is missing her grandson, Dennis, who is an army officer, serving on a remote base in this bleak, war-torn country. She resolves to visit him, despite her age and infirmities, and the logistical difficulties of travelling to a war zone. Taking the arduous train journey, she finally arrives, hot and dusty, at Dennis's camp. He makes her as comfortable as possible, given the basic amenities, and shows her around proudly, letting her sit in his armoured vehicle, and meeting the men of his unit, mostly young, and all homesick. When he has to go on a mission, she is able to wander around freely, and visits the nearby Chechen town, to buy goods for the young men not allowed to leave the base. She views both sides of this conflict, and worries for her grandson, who she may never see again. This is an understated performance, but one of great depth. Her skill, is in showing that she could be anyone and everyone's concerned grandmother, and it is this that is the glue that holds the whole film together.

Grandma Alexandra (Galina Vishnevskaya) looks very fed up. She's got the whole of Mother Russia on her back - so is needing to walk much Great Suffering out of her tired legs.

She's gone to see Dennis (Dennis?!) her army officer grandson, where he's making war in the Chechen Republic. Whys she there? I mean, how credible is this? Why is she allowed to be there? Why is she allowed to wander around the front line faffing her fingers at the bored border guards? This situation seems like a contrived set-up of Sukurov's to facilely juxtapose women as nurturers against the bad boys (men) of war.

It's soon turned into one of those films where questioning plot plausibility becomes irrelevant - cus there is no plot. Nothing very interesting happens. And nothing very interesting is said. She gets shown around the dusty hot base, the dirty combat vehicles. Now she's examining their shiny equipment. She's brusque, dismissive. Seen it all, done it all. "All" meaning all the suffering already. All the suffering these bored boys are too insensitive - or desensitized - to suffer, with all this impersonalised shooting off of these weapons of destruction they do.

So she's wandering about the camp mumbling and muttering to herself like some grumpy old Mother Archetype. Its "Alexandra Nikolaevna" this and "Alexandra Nikolaevna" that (thought that only happened to characters in Tolstoy novels). Keeps needing to sit down cus tired. More than likely made tired; by the moral torpor shes witnessing - as accentuated by the drained out greeny gray the film is being filtered through.

"What do you actually want? I don't understand you" says Unit Commander. I don't understand her either. And its hard not to feel disengaged by all this gruff antipathy she's wearily trudging around the camp with. They can't help it - the poor lambs; they're just being soldiers. Making war and killing people is what soldiers do. Even if they are only little lads. If you don't like being there - go away!

And she's gone. Leaves as disgruntled/ crotchety/ lonely/ dismayed (take your pick) as she came. Mind you, there's been a big granny love-in at the train departure; reinforcing how instantly, easily, connective womenfolk can be together. Because they - the grannies, (whether Russian or Chechen) represent humankinds best, possibly - only - hope against war (I doubt Sukurov meant anything as trite as that - but its as much thought as i want to give this film for now)