1966 ‘Андрей Рублёв’ Directed by Andrei Tarkovsky
An expansive Russian drama, this film focuses on the life of revered religious icon painter Andrei Rublev. Drifting from place to place in a tumultuous era, the peace-seeking monk eventually gains a reputation for his art. But after Rublev witnesses a brutal battle and unintentionally becomes involved, he takes a vow of silence and spends time away from his work. As he begins to ease his troubled soul, he takes steps towards becoming a painter once again.
Anatoliy Solonitsyn Ivan Lapikov Nikolay Grinko Nikolai Sergeyev Irma Raush Nikolay Burlyaev Yuriy Nazarov Yuriy Nikulin Rolan Bykov Nikolay Grabbe Mikhail Kononov Stepan Krylov Bolot Beyshenaliev B. Matysik Anatoliy Obukhov Volodya Titov Nikolay Glazkov K. Aleksandrov Semyon Bardin Ivan Bykov G. Borisovskiy Vladimir Vasilyev Zinaida Vorkul Aleksandr Titov Viktor Volkov Irina Miroshnichenko Tamara Ogorodnikova Natalya Radolitskaya Nikolay Kutuzov Show All…
Andrey Rublyov, Andrej Roebljov, Andrei Roublev, Andrej Rubljow, Andrei Rubliov, Andriej Rublow, アンドレイ・ルブリョフ, Andrej Rublev, Αντρέι Ρουμπλιόφ, Andreï Roublev, 安德烈·卢布廖夫, 안드레이 루블레프, 안드레이 루블료프, АНДРЕЙ РУБЛЕВ, Andrej Rublëv, Andrej Rubljov, Den yttersta domen - livsdramat Andrej Rubljov, Андрей Рубльов, آندره روبلف, Den yderste dom, 安德烈盧布列夫, Andrėjus Rubliovas, Andrej Rubľov, ანდრეი რუბლიოვი, Андрій Рубльов
France
Cannes Film Festival
USSR
USSR
UK15
USAR
Portugal
Netherlands12
SpainA
Netherlands12
Netherlands12
Germany12
Netherlands12
France
Germany
Netherlands
Portugal
Spain
UK
USA
USSR
"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…
***One of the best 150 films I have ever seen.***
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. 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…
All I knew going into this was that it was about an artist/monk. Perhaps I'm just grasping for meaning here, but the ending certainly suggested it might well be about filmmaking a bit, too.
As Boris slowly backs away from his triumph at the end and breaks down, as the dozens who worked on the bell move in to make it ring, as the audience cheers, I could not help but think that perhaps this was some commentary on what it is like to be a director under pressure, seeing your work come to fruition with the help of a crew and cast, and hearing the applause through stunned disbelief.
Perhaps this humble interpretation resonates with all forms of shared art-making. I certainly hope so.
This is my first Andrei Tarkovsky movie and I was a bit disappointed. I understand that it is one of the best movies ever made and it is a sin to rate it lower than 5 stars, but I just didn’t like the movie that much.
The movie was very well made and Tarkovsky is without a doubt a great director. The movie was filled with beautiful shots and good effects and it was basically just well made in almost every aspect.
After reading more about the movie I understand the story and symbolism better but I still don’t think everything was made that clear, as the events didn’t really felt that tied together all the time. The story was…
Holy fuck, watching this in a theatre was one of, if not the, best cinematic experiences I’ve ever had. Blown away once again. Perfection.
It always hits me like a ton of bricks in what degree a film's efficiency can depend on the director's technical expertise. It can be the dividing line between mediocrity and being a masterpiece. Andrei Rublev would be nothing without Tarkovsky. Since I do not aim to write an all-inclusive review detailing each segment of the film, I will cut to the chase and establish the centerpiece of my review, one particular quality in the director's immense skill repertoire which impressed me like nothing else in cinema has. That feature is duality.
To give a sense of how Tarkovsky achieved his duality in Andrei Rublev, I will present my review in much the same fashion. I will reveal my own…
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.
Religion has always been foreign to me. I’ve never had faith in any organised teaching or found virtue in the actions of religious groups. This is perhaps why I find films like Andrei Rublev so enticing. Depictions of people living their lives based on a belief system I reject is always fascinating, partly due perhaps to crass exoticism, but also because it highlights the spectrum of human existence whose irrationality I struggle to comprehend. Andrei Rublev is among the greatest films ever made to tackle religion because it highlights a series of important events in the life of one devout man without being a didactic sermon on faith. We see the importance of Christianity to Russian culture, nationalism and heritage…
how and why the artist has to confront the politics of his time, but to also stay true to the spirit of himself and his age -- to translate and transfigure the world. to exist between god's forgiveness and your own torment is not a knowledge you can possess, but a reoccurring act which one must perform; faith is the bridge that one walks, hoping that a destination is possible but also being aware that even if there isn't one, the task is important all the same. that bell-casting sequence is one of the greatest cinematic expressions of labor, uniting belief and praxis.
Framed between a prologue and an epilogue, Andrei Rublev is split up into eight episodes which are only marginally a biography on the revered medieval Russian painter. Instead, director and co-writer Andrei Tarkovsky is preoccupied with examining more widespread concerns of religion and sociopolitical circumstances during a period of Russian history characterised by fighting between rival princes and the Tatar invasions. The events all leave deep imprints on Andrei, who's portrayed exceptionally well by Anatoly Solonitsyn, and there's some mesmerising cinematography which establishes a tone of mysteriousness to the world.
It's an epic tour de force with intellectual and historical profundities, and the concept of Andrei roaming through different territories is impressively employed to get to the heart of Russian…
