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…
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!
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,…
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…
Maybe it's beacause I had absolutely no idea of who Andrei Rublev was, but this movie did never strike me. I didn't find it as beautiful as "Mirror" or as deep and interesting as "Stalker", but instead I just saw the segments as the minutes went by, being ocassionaly atracted to some scenes, but not to the film as a whole. However, I admire the bravery of the film and the brilliance of some individual scenes.
More a grave march through the life events of its titular artist, Tarkovsky's immensely bleak film weighs heavy on the audience. With zero appreciation for medieval art, my knowledge of Andrei Rublev's work is negligible, rendering the events of this film a completely fresh experience. Three and a half hours later, I cannot, realistically claim, that I have any more knowledge of Rublev or his work. Tarkovsky's film seems to be much more concerned with the hollowness surrounding religion - money, power, status - than any of the religious tenants themselves. Barbaric and unapologetically close minded, each character in the film represents the cold realities of 13th century Russia. Struggling…
Andrei Rublev (the film likes to call itself Страсти по Андрею - The Passion According to Andrei, but pretty much everyone calls it just Andrei Rublev) is a '60s biopic of the titular Medieval iconographer, directed by Andrey Tarkovsky. The movie's strong religious thematic makes it a wonder that it was even made in the Soviet Union in the first place (but it was screened only outside of Russia for quite a while and it also gained some controversy for some sexual scenes and depictions of violence, including some questionable animal treatment.
The movie deals with several religious and artistic issues, a lot of which is probably lost on non-Christians such as me. From what I can gather, the film…
Honestly, I am not one to speak on Andrei Rublev at this point in time. The DVD copy I watched was severely cropped. Which made a difficult film to watch that much more difficult to enjoy.
I also did not give it my full attention over the lengthy 3 hour and 20 minute running time. Which is an absolute must for any Tarkovsky film.
I will be watching Andrei Rublev again in the future. But with a better copy and devotion of my time.
The pace of this film can be frustrating to us in the West who expect quick cuts and fast pace story telling. However, the video techniques and "artsy" long pans are excellent for the story telling in this movie. The movie is a great examination of Russia in the 15th Century, the Eastern Orthodox Church, sin, invasions by outsiders, redemption, and sorrow. There are also great parallels where the government ruthlessly persecutes pagans while Russia is invaded by Pagan Tatars.
Also there is the struggle of the monks and the monks who seek to utilize their gifts but struggle with depression, greed, and envy of others. There are difficult scenes to see on here especially the invasion of the Tatars…
No matter how much reading do about the movie, I still don't understand the acclaim.
Most of the praise is around the characters search for art. But in all the slog, I couldn't see how the search for art or even the search for the definition of art meant anything to anyone.
chaos im Babylon, so ganz ham dies ja nicht raus. das tut dem Film zum Glück keinen Abbruch, alles kommt hier so natürlich, fließt in einen rein, alles ist da, weil es halt da ist, nicht weil da eine Kamera ist die es Sehen kann (irgendwie natürlich schon), eine tiefe Leichtigkeit, die abseits der intellektuellen Reize eine ganz instinktive Emotionalität hervorruft
Film #15 of 30: March Around The World 2015 Challenge - USSR
Surprisingly religious for a Soviet film (which, I guess explains why it wasn't released upon completion) - and much more conventional than the other Tarkovsky film that I've seen (Stalker). Too long for my taste - but certainly well made. I did liked the bell casting segment.
I don't yet understand Tarkovsky yet. One day I probably will. And I hope I do. But for now, I don't get it.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…