Hard to Be a God

Hard to Be a God (2014)

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A planet where the Renaissance never happened, where every thinker gets strangled or drowned in a latrine. Filmed in mud, rain, and entrails.

HARD TO BE A GOD (2013) is Aleksei German’s final film, released posthumously after his wife Svetlana Karmalita and son Aleksei German Jr. finished the post-production following his death. It follows Rumata, played by Leonid Yarmolnik, a scientist from Earth sent to observe a planet stuck in a medieval dark age, forbidden to interfere even as the local rulers hunt down anyone who shows signs of intelligence or art.

Adapted from the novel by Arkady and Boris Strugatsky, the film abandons anything resembling conventional science fiction imagery. There are no spaceships or gleaming technology, only three hours of filth, phlegm, and feudal cruelty shot in black and white, the camera weaving through crowds who stare directly into the lens as if daring the viewer to look away.

German first tried to make it in 1968, but the crackdown on the Prague Spring made a story about a regime crushing its intellectuals impossible. By the time he returned to it in the late 1980s, another director had already adapted the novel. Shooting finally began in 2000 and continued for six years, with post-production stretching years beyond that.

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About the film

Directed by
Aleksei German
Runtime
177 minutes
Released
February 27, 2014
US theatrical
June 30, 2015
Certification
NR
Country
Russia
Starring
Leonid Yarmolnik, Yuriy Tsurilo, Natalya Moteva, Aleksandr Chutko, Evgeniy Gerchakov
More credits
Genres
Drama, Science Fiction
Language
Russian
Origin
RU
Studios
Sever Studio, Russia 1, Lenfilm
Written by
Arkadiy Strugatskiy, Boris Strugatskiy, Svetlana Karmalita, Aleksei German
Produced by
Rushan Nasibulin, Viktor Izvekov, Leonid Yarmolnik
Cinematography
Yury Klimenko, Vladimir Ilin
Music
Viktor Lebedev
Also starring
Pyotr Merkuryev, Juris Lauciņš, Vytautas Paukste, Konstantin Vorobyov, Aleksandr Cherednik
Budget
$7,000,000
Box office
$1,310,673

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Comments

  1. Imagine working so hard to make an unwatchable barf fest of just the grossest nastiest shit with this beautiful photography…like Tarkovsky but with people swallowing snot and caking themselves in shit for three hours:p

  2. I love that it depicts those times as they probably were…too many movies sanitize that period. Like, c’mon. People barely had teeth, let alone shiny, white, even ones. This movie takes all of that apart.

    1. I’ve yet to read the book but I’ve seen the movie twice. The first time I watched it I was in an absolute confused state… but I still loved it. On a second watch a bit more nuance was glanced.

      1. Bo Hernö I guess the intention of the director was to immerse the viewer as much as possible in that universe, and to be honest, it’s the closest to a tactile experience you’ll have from watching a movie. He did a really good job there, so I think it can be forgiven that the story took a bit of a dive.

    2. Paul Mitache in being almost exclusively preoccupied with the medieval misery I think it loses quite a bit of the thrust of the book tbh. A decidedly unique film though and definitely seems like the cast lived the roles, with all the horrible connotations that entails!

  3. The Renaissance never happened in eastern Europe, Russia, or the middle east. In fact it never happened in Asia or Africa or the Americas … because it was a historical phenomenon unique to Western Europe, born out of the specific historical factors of that region alone. However its consequences would eventually be spread around the planet thanks to colonialism.

    1. Vee Noc That’s been the stock western European narrative, since before Columbus.
      Imagine the shock of Magellan’s men when they landed in the Islamic Sultanates of the Philippines after barely surviving crossing the Pacific Ocean.
      The Islamicate world is the source of the Classical Wisdom that sparked the Renaissance.
      Classics coming to the Catholic Medieval West through either the Venetian trade system with the Islamicised Roman Empire 3.0 (Ottomans),
      or the sophisticated Islamic universities in southern Iberia.

  4. Ironically, the Middle Ages were probably more stable because religious and social institutions were unassailable. In the West, virtually no one questioned the Catholic Church or the Feudal System. The Renaissance lead to religious wars, persecutions and witch hunts. Small city states constantly fought each other in bloody battles to gain small economic advantage. The opening of less restricted commerce and travel led to widespread pestilence. For the average person living through it, the Renaissance was probably filled with much more grief than the “good old” Medieval days

  5. There’s a great line near the end where (I’m paraphrasing) someone says “when the grays comes, the blacks always follow.” (Referring to the color of clothing people wore). This suggested if you allow bad (grays) to prosper, it only gets worse. Wonderful film for those that have the patience.

  6. Absolute total helluva thing. The production values are beyond belief. I loved how seemingly every interior scene between characters was “plagued” with crazy inexplicable crap hanging down in-between them, just totally nuts. It’s a freakish keeper without a doubt.

  7. Kind of historically illiterate, though. The premise of the film owes very much to a false and somewhat cranck-y 19th C. anti-Christian notion that Catholicism, feudalism, or the common zeitgeist of the European Middle Ages were somehow anti-intellectual. This was not the case. A concept of knowledge, technological progress, and art being inherently “good” was articulated by European scholars as early as the 13th C; and arguably it never “left” the European mind from Classical antiquity throughout the Dark Ages, since the Catholic church never rejected Aristotelianism, unlike Islam. What spurred on the Renaissance were primarily material factors, like the rise of Capitalism, rather than a change in mindset towards art and science writ large.

    This stupid notion of a wantonly ignorant middle ages gained more traction in Communist Eastern Europe (no prizes for intuiting why) than it ever had in the mid-to-late 19th C.