The greatest films of all time as voted on by the Criterion subreddit using a ranked top 10 methodology from…
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…
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…
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.…
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,…
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…
Just didn't really connect with me on any kind of personal or emotional level. It's a terrific cinematic achievement - I can see why it's so highly praised - but it wasn't quite there for me.
It's not you, Mr. Tarkovsky. It's me.
As an aside, it boggles my mind that this film was allowed to be made in the Soviet Union. Religion and artistic freedom aren't the sorts of topics I'm used to seeing in art from the USSR. That alone is an impressive feat, even if the film was more or less banned inside the Soviet Union.
Might've been the bad transfer I watched that kept it from a 5.
Truly the Andrei Rublev of soviet cinema
I had to re-watch it. My first watch was the original director's cut that Criterion put out on DVD and unfortunately, hasn't released a Blu-ray of. The Criterion print is very rough. There happens to be a Blu-ray foreign print of Andrei Rublev, but it's about thirty minutes shorter so I made that an excuse to re-watch it.
Just as incredible the second time around.
There are moment of exquisite cinematographic beauty and philosophical insight, as is in any film of Андрей Тарковский [Andrei Tarkovsky] I have seen before. I just find that the religious aspects, especially the epilogue, made this lesser for me than his other great films.
Kinda like watching a Bergman movie, but cinematic...
What happens when you kill animals in the name of art? You get cancer and die.
This review is based on the Tarkovski's favored 185-minute version.
This is a bit too big piece for me to write about and seeing it in the darkness and magic of theater, from 35 mm film copy, didn't really ease finding words but I realized something more: we aren't suppose to really find words for the most important emotions of this film will be understood - only as emotions, understood by feeling them.
What is truly remarkable here (among dozens of other things) is how Tarkovski builds his characters through their existentialist struggles and spiritual battles. We don't really get to know anything about their backgrounds nor really anything about their ambitions since they are lost. But perhaps this is…
Forgot to log this. This. Is. So. Russian.
In no particular order (1940-2016).
More Info to come