All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The life, times and afflictions of the fifteenth-century Russian iconographer.
"What is praised today is abused tomorrow.
They will forget you, me, everything."
I am utterly incapable of writing a review for this film, so I am not even going to try. It would be a disservice to the film, and to Tarkovsky. This is what I like to refer to as biblical cinema; I don't mean that the film itself is religious - at times it is, though I would argue its themes are more spiritual than religious... what I mean is that it is the type of film that you can revisit throughout your life - in times of need, in times of stress, in times of sorrow, you can come to a film like this one, and…
Seven episodes in the life of the titular medieval Russian icon painter, all of which add up to one of the most vivid and detailed cinematic depictions I've ever seen of the life of an artist. From naive optimism about human nature to an abject despair that leads him to swear off art-making for about 15 years, then finally a renewal of his passion with the help of a former monk and a young bellmaker (whose obsessive quest to finish a massive bell acts as a metaphor for the artistic process), Andrei Rublev—at least in Andrei Tarkovsky's interpretation of his life—remains consistently engaged with the world around him; in such a context, the moment where he pointedly wonders aloud if…
People always say "You can do anything you set your mind to", but is that really accurate? Could I have pursued a multitude of professions when I was growing up and determining a path for my education? Certainly. Could I have worked harder, maintained a stronger focus on my goals and been at the top of my class? Sure. It is amazing what a person can achieve when they know what they have to do to get to where they want to be.
Yet I still don't truly believe the word "anything" belongs in that first quote. Some people can work night and day and become great, but it takes more than that to be a genius of a craft.…
Thanks to the power and humanism of a gripping anti-war manifesto called Ivanovo Detstvo (1962) directed by Andrei Tarkovsky, his next epic project Andrey Rublyov had a considerable amount of high expectations from the Russian audience. Naturally, something that continues happening even nowadays, the film surpassed any possible human expectation, being the cinematic result a politically brutal and violent motion picture with a highly sexual tone. The most obvious consequence was the film being prohibited by the Russian government for approximately three years, complicating a wider worldwide distribution while being subject to several edited versions mostly removing every scene involving profanity, its greatly predominant Catholic influence and the noticeably violent torture and battle sequences. Decades had to pass so the…
PTAbro's World Tour Stop 17: Russia
There is nothing I can say or do to diminish the overwhelming power of Andrei Rublev. It feels as large and a multifaceted as the nation it takes place in, with long, calm, silent segments representing the steppes, brutal action sequences full of roaring hate and terror representing the biting tundra, and understated, question-raising dialogues about the nature of art and religion that represent the cultured views of Moscow and St. Petersburg. If not anything else, Andrei Rublev is, like the man's famous icons, an exquisitely crafted reflection of the artist/country that gave it form.
Unfortunately, the Criterion transfer of this (at least the one provided to me) is frankly awful. It's a shame,…
Really not much I can say, Andrei Rublev is a film meant to be lived, not watched, let alone read or listened. Tarkovsky was way ahead of his time, even until now in the 21st century we are still barely catching up to his artistry. His omnipotent camera dances around with the grace of a veteran ballerina, capturing the beauty of chaotic harmony with ease using his trademark looong takes. The film is massive, both in terms of theme and length. To this day I still have yet to see a work by Tarkovsky in which his overwhelming ambition doesn't show on screen. In a way, with it's awe-inspiring portrayal of medieval Russia, Rublev is Tarkovsky's Copper Bell.
**186 minute version**
How is it that I have AGAIN underestimated the emotional capacity of Tarkovsky? It happened with Ivan's Childhood, and it happened here.
On top of being a stunning exhibit of directing, period design, structure, and character study, Andrei Rublev is MOVING. I almost teared up in three of these chapters, for three different characters.
Also, remember what I said about the directing? God damn. I'm now convinced that there is not a single filmmaker that can move a camera like Tarkovsky. Can't wait to continue exploring his filmography.
I find that epics (whether in literary, cinematic, or musical form) often suffer from the same problem: they're remarkably feats on a grand scale, but lose focus moment-to-moment. How many individual scenes can you remember from War and Peace? I can only think of two off-hand: the moment Pierre first arrives at battle to find chaos instead of order, and the moment Andrei finds his dead oak tree bursting with life. But I'll always remember War and Peace as a whole for its scope and its breadth.
Tarkovsky, on the other hand, manages to make every scene and every shot its own masterpiece, even if the whole suffers for it (at least on first viewing). There's a scene at the…
Kirill se astepta ca Theofan grecul sa-l cheme pentru a-i fi ucenic ca sa picteze o catedrala din moscova. Insa maestrul picturii il alege pe Andrei Rublev pentru aceasta misiune. kirill este macinat de invidie si alege sa paraseasca manastirea din care facea parte. Isi cearta fratii calugari la despartire, incepand sa enumere defectele fiecaruia, zicandu-le ca sunt ipocriti. Cand omul e macinat de un viciu - in cazul de fata cel al invidiei - are tendinta de a se razboi cu defectele celorlalti. In momentul plecarii, dupa Kirill fuge doar cainele sau. Caine pe care il iubea. Ura din el e devaratoare si il face sa omoare fiinta pe care o iubea cel mai mult.
De lo particular, a lo universal.
Del pintor Andrei Rublev, a la figura del artista.
¿Aspiras a crear un retrato veraz de la humanidad? Dibuja fielmente a un ser humano. Como individuo y como ser social, condicionado y construido según su contexto.
Dibuja sus dudas, sus convicciones.
Dibuja sus deseos, sus presiones.
Captura el tiempo y el espacio de un hombre y este retrato trascenderá al individuo.
This is the point where movies become art. Tarkovski.
It's all him. I can't believe the scope of the entire picture, with the performances, the sets, the cinematography or direction. At one point, everything felt and looked like a dream. It's weird how movies are capable of getting to a point where that's possible.
I definitely need a gap of a few months before I watch another Tarkovski since they're really a special first time experience.
If you want to know how to film a painting and make it epic than watch this movie.
Too bad about Mr. Horse :v(
As with the last Tarkovsky film I watched, I'll need to view this a second time to have any definitive opinion on it.
¿Qué sería de un artista sin sus circunstancias?
my favs atm...