This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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…
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.…
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.
Sublime and meditative with sequences that live long in the memory. A truly beautiful, shocking movie - the balloon scene, the crucifixion, the casting of the bell, the Tartar's raid particularly stand out.
I think it's more like Andrei Rublev gave me four stars. Must rewatch.
I still feel I don't completely 'get' Tarkovskiy. I mean, I see the artistic merit and I completely understand why his films are masterpieces including this one, but unlike Bergman, Kieslowski and others I don't feel a strong connection to his work. I guess my problem is I appreciate his films more than I enjoy them. Hopefully one day it will change.
From an artistic perspective this is as beautiful as any Tarkovsky. As for the story, it just didn't click with me.
After all of this had left its mark on Andrei, from prominent artist to someone who abandoned his artistic expression, we finally see his art. The final 2 minutes are home to the only colour imagery, a fascinating maneuver in the expression of Rublev as a “world-historic figure” – only after we have seen what he has do we get to see how his experiences colored him as an artist. The trials of Hercules, perhaps, reimagined as a lifelong artistic pilgrimage. Tarkovsky’s Andrei Rublev contains so much content and depth that it could take years to comprehend and decode its many layers with its legendary cinematography, massive expanse, and intellectual & historical depth it’s hard not to be swept off your…
Some parts of this film are really amazing, such as the long segment with the bell (Nikolai Burlyayev putting in a stellar supporting performance), but overall this feels like an anthology of many short films, meaning that while some of the film is really really good, the pacing ends up very uneven, and it doesn't really need to be 3 hours long
"All in all, the pervading hopelessness paired with a desperate and haunting soundtrack is what gives this film an enduring quality: it asks questions of religion, of Russian orthodoxy, that will always be asked. It is how these questions are asked and how they are intertwined with strange and mildly confusing characterisations and sub-plots that makes this film a poem, a long and beautiful poem of the depressing realities of existing in a callous period of pre-modernity that holds startling relevance to today."
Sculpting Time: Andrei Tarkovsky Retrospective
Hopefully not one to beat about the bush, let me say that this was one of the three or four greatest and most immeasurably moving things I've ever experienced in a cinema.
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…