“Ninety percent of everything is crud.” – Theodore Sturgeon
Welcome back to “The Ten Percent,” a regular column where every other week K. Dale Koontz and I take a look at the inverse of Sturgeon’s Law; in other words, the small portion of everything which is not crud. So many films premiere each year, but only a very few are remembered and revered years later. That’s not a matter of genre – the Ten Percent is a big tent, with plenty of room for comedy, drama, horror, animation, musical, science fiction and many more. But admission into the tent is not easy to come by. Films in this category last because they are high quality productions which demand more of their viewer than simple passive reception.
Elim Klimov’s Come and See (1985) takes its place in an unusual corner of the Ten Percent. A place for works of art that are so powerful, so honest, and so terrible that they absolutely must be seen, but which are also so psychologically and emotionally intense that they are revisited only rarely. The late Roger Ebert wrote that Come and See “is one of the most devastating films ever about anything, and in it, the survivors must envy the dead,” while Mark Cousins called Come and See “the greatest war film ever made.” Both are correct.