The gifted Larisa Shepitko was 39 years old, four films into her career and on the verge of more when “The Ascent” first emerged as a blip on the radar, placing her among the most promising new commodities of 1970s Russian cinema. Patterned in the tradition of a persistent arsenal of anti-war hits about the Nazi occupation, hers was an adjunct that also drew upon more precarious sources – particularly the legend of Jesus Christ, who like the hero of her story became a willing sacrifice as penance for the sins of others. Was there a thread running parallel between both that she felt mirrored the context of the war? Perhaps a reasoning, or a justification, for the history we know was to follow? Her protagonist, the stone-eyed Sotnikov, is not exactly a warm and embracing personality, and early on he is handicapped by ailments – and then a gunshot wound – that keep him from more profound gestures. But even as the prey in a doomed hunt he materializes, unbroken in his humanity, as a willing casualty in the jaws of fate, even though the key figures among him seem all too eager to use his martyrdom as their own safeguard.