100 Days Before the Command

100 Days Before the Command from 1991 is a Russian drama film directed by Hussein Erkenov and cast including Vladimir Zamanskiy, Armen Dzhigarkhanyan, and Oleg Vasilkov.

Set in a post-Soviet Russia, the movie is a thought-provoking depiction of military life. But it’s not a typical war film full of close-quarter skirmishes, strategy talks, high stakes negotiations or roaring fighter jets. Instead, it offers an intimate and somber portrait of youthful soldiers' lives during peacetime, drawing attention to the monotony, power dynamics, tacit codes of behavior, and the universal trials and tribulations of young manhood.

The film is named after the hundred days count that the rookie soldiers have before they get their command. It heavily focuses on the psychological aspect of the characters, the oppressive environment they live in, and the struggles they face while trying to preserve their individuality amidst the stringent rules and regulations of military life.

The narrative design of 100 Days Before the Command is unique, forsaking a linear, plot-driven approach for a more poetic and episodic one. The title aptly sets up a countdown parameter, but beyond that, the story unfolds through a series of unrelated episodes, each providing a glimpse into the experiences of the propagonists. The movie gracefully exhibits the rigors of discipline, loneliness, fraternity, doubts, fears, and desires these soldiers go through. Adding nuance, these episodes often use surreal and symbolic imagery, contributing to the film’s dreamlike, contemplative quality.

Three privates are central to the film – Zhuravlyov, played by Oleg Vasilkov; Belikov, played by Armen Dzhigarkhanyan; and Elin, played by Vladimir Zamanskiy. Although the film circles around other soldiers, the narrative particularly leans towards these young men, echoing their thoughts, dreams, and despair. Through these characters and their interpersonal interactions, the film underscores themes of authority, subservience, camaraderie, identity, the pursuit of personal freedom, and the absurdities of the hierarchical military system.

The performance by the leads deserves special mention. Oleg Vasilkov and Vladimir Zamanskiy perfectly encapsulate the spirit of young soldiers grappling with the harsh reality of military life while Armen Dzhigarkhanyan gives a sublime performance as the archetypal stringent authority figure. These unforgettable cast performances provide a strong emotional core to the film, making it more piercing and relatable.

Joshkar also plays a significant role in the film as the setting. Its barren, sun-blasted landscapes and utilitarian military architecture create a stark, alien, and oppressive background against which the film unravels. It's an unremitting, stark environment that mirrors the cold strictness of military life.

From a visual perspective, 100 Days Before the Command is nothing less than a masterpiece. It offers some breathtaking cinematography, inventively using its framing, depth of field, light, and color to create a magnificent visual composition. Many shots are self-standing pieces of visual poetry contributing to the poetic realism which accentuates the film, giving it an evocative, aesthetic appeal while subtly intensifying its themes and characters.

Simultaneously, the film’s sound design is intentionally minimal, relying on naturalistic ambiance to underline the starkness of its setting, further heightening the feeling of being within the confines of the barrack.

Directed with a finely calibrated visual style and an astute sense of pacing, 100 Days Before the Command is a deeply contemplative reflection on the military life and human nature at large. It invites viewers to join this introspective journey, leaving them with more questions than answers, prompting them to think, analyze and reflect on the themes and psychologies it presents.

In summary, 100 Days before the Command emerges not as a commentary on the politics of its time, even though it effectively portrays a specific period in Russian history, but as a cinematic meditation on youth, the passage of time, the construct of military life, and ultimately, the human condition. It is a compelling film, layered with universal themes, unique narrative style, and avant-garde aesthetics that will pool viewers into an immersive, sensory experience.