All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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,…
A brave film based loosely on the life of the painter Andrei Rublev .. the co-writer (Andrei Konchalovsky) and director Andrei Tarkovsky had to know they were facing an uphill battle considering the religious and political undertones throughout the film! What is absolutely amazing is they didn't let that stop them! (It wasn't officially released in the Soviet Union for years and when it was eventually released it was heavily censored)
This is not light viewing so don't go into it without a large bowl of popcorn and a commitment on your part to view a 205 minute film! I was particularly enamored with much of the film but I found the segment dedicated to the casting of a bell was especially interesting!
Animal Cruelty Disclaimer: most of the animal cruelty filmed is not real.. However the scene with the horse was all too real!
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…
First viewing on the Distinction Series box-set at 175 minutes. Although this is not the intended original cut (available on Criterion at 205 minutes); there is still an unfathomably vast scope from Tarkovsky that cannot be summarized in a few words. In fact, it's a downright challenging endeavor to offer any kind of critical assessment. After having watched his elliptical debut Ivan's Childhood and richly profound Solaris, it was time for Andrei Rublev, and by this point I'm cementing the work as his most assuredly accomplished yet. However; that's merely a statement with where I am in his filmography. There's still a wholly satisfying journey along the way. Throughout the following week, it'll be a pleasure to experience The Mirror…
I had so much difficulty keeping track of who's who and why they're doing what they're doing that I had to follow along with the Wikipedia plot summary. It's almost as though Tarkovsky made the narrative deliberately confusing.
Interesting cinematography, though.
One of the chapters could accurately be titled "Andrei crashes an orgy."
Violence and murder amidst creation. "Andrei Rublev" explores the psychology of creators and the burden of creation. It also takes place during the Tartar invasion which I do not know a whole lot about, but it all certainly is violent.
I couldn't help but get the feeling that Tarkovsky was communicating something about his struggles as an artist himself. Producers nagging him to hurry, the pressure of wanting it all to work, the envy of people who think they are less, and the ultimate toll this takes on an individual. I love how Tarkovsky can absolutely transport me into an entirely different universe. His camera work is illusory and sharp, and his dialogue is very much layered. He really keeps…
Incredible. Terrifying to talk about because it's so massive—in length and in theme—but incredible. A masterpiece that looks inward on its own creation. One that asks how art and life are connected and how you can use art to represent the biggest, scariest, realist facets of life.
I think it is very probable I was simply not in a good headspace for a three and a half hour subtitled film about art and religion. I should note to myself to never watch things like this when I am tired.
The icons in the end were very pretty?
Throughout my viewing of Andrei Tarkovsky's incredible ''Andrei Rublev'', my mind was constantly swarmed with thoughts. Whether these thoughts were of humanity's cruelty and salaciousness, or of its kindness and beauty, one thing was certain - they were all brought about by Tarkovsky's undeniable genius. In ''Andrei Rublev'', he created one of cinema's greatest masterpieces - a spiritual and artistic odyssey set against the brutal backdrop of medieval Russia, all enhanced by his unparalleled camerawork. I've seen few films as philosophically and thematically dense, which means that attempting to convert my complex emotions into words is perhaps futile. Instead I think that I'll just try to write down just a few of the hundreds of thoughts that are whirring around…
My first impressions are that Tarkovsky is going to be a challenge for me. He's someone I want to like (at least one - come on, just one!) but actually don't think I will, no matter how hard I try. For the record, I tried REALLY hard with Andrei Rublev, but ultimately, I just couldn't settle in. I take that back, I was fine up until the "The Raid" chapter and that's where the film lost me, I think. Sure, not a lot was happening, but I was with it and it was mildly interesting. Andrei's a famous painter....Kirill is a whiny, envious brat....Danil is a little envious too, but more saintly than Kirill. But then the character's of the…
This film is an epic that blurs the line between spirituality and religion while managing to be about an iconographer without actually including the iconographic act. Tarkovsky proves himself again a master of the slow take, pulling off shots that feel less choreographed and more flow than anything (see the Tatar's raid for some excellent examples). The bell-casting sequence remains one of the most compelling, exhausting bits of episodic storytelling put to screen.
A 3 hour epic depicting the famous Russian icon painter. Watching 'Stalker', 'Solaris' and 'The Mirror' before this one, it actually had a much faster pace then I had anticipated. Still, it isn't an "easy" watch, but there are scenes that had me very engrossed and it felt more like 2 and a half hours then 3. The Pagan ritual scene was probably my favorite. Great stuff.
thanks for the icons
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
- The Godfather
- Seven Samurai
- The Godfather: Part II
- 12 Angry Men