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…
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.…
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…
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…
Excruciatingly long, yet beautiful, beautiful cinema.
"There is nothing more terrible than snow in a temple."
Y por fin me enfrenté a ella. Y el resultado fue mejor de lo que esperaba. Amedrenta ponerse delante de semejante mastodonte cinematográfico —tres horas de duración y, en mi caso, su temática pueden echar a más de uno para atrás—, pero su notable guión y una puesta en escena impecable hacen de Andrei Rublev una película bastante "ligera".
Por lo que os he leído a muchos, es, quizá, la cinta más convencional de Tarkovski. Toca ahora enfrentarse al cine más denso del soviético.
I'm glad I watched it since it was on my list of films to watch, and I think it is a great film about faith that anyone interested in the topic should watch. However, it is something that you have to watch on your own terms and maybe only once in your life.
I highly recommend this film, but I don't think it is one that I would invite people over to watch a great Russia film and then spring this one on them.
Honestly, at first I didn't want to watch this movie. At all. I just thought that it'd be some dull Soviet bio of a medieval artist, even being shot by Tarkovsky. I should say that I was mistaken – the movie – now even more relevant thanks to Game of Thrones's fashion for medieval – is brilliant and deep. It makes you think, makes you repeat the same question that the characters address: on the sense of artists' creation, on the relationships between the artist and the audience, on the artists' license to redefine canonic works, on the intuition and faith, on the shallowness of a human and his/her longing for perfection and forgiveness.
"Let's go together, you and I. You'll cast bells. I'll paint icons."
Long considered a rite of passage for cinephiles, Andrei Rublev marks my first real exposure to Tarkovsky. A 3+ hour meditation on the role of art in a bleak and seemingly hopeless world, it is challenging on multiple levels: its depiction of medieval Russia is brutal and unflinching; it so often deals in "pure cinema" without spoon-feeding the viewer context that it demands even more attention than the average sound picture; and with languorous pacing, an episodic structure, and a truly epic scope with multiple characters as focal points, it forces one to think of its vignettes not as a traditional narrative but rather in terms of what…
Need a rewatch; my most vivid memories of this are the opening half hour and the ending with the art show (all of those walls with the music playing so loudly and beautifully).
It would be the understatement of the century to simply say that Andrei Rublev is long. Because truly, it is really, REALLY long and I felt every minute of it. Conversely, I can't even imagine what could possibly be cut out of it. Such is the mark of an ambitious and ultimately successful film, where you try to pick it apart but ultimately relent to its emotional and aesthetic power. I was struck by the tragic tenor of the whole production, its unflinching portrayal of the suffering of one people in one time being extrapolated to representing not just the oppression taking place in the Soviet Union of 1966, but the universal suffering of all mankind throughout all of history.…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…