Showing posts with label Andrei Tarkovsky. Show all posts
Showing posts with label Andrei Tarkovsky. Show all posts

Friday, 27 April 2012

The Mirror


Tarkovsky's mother reflects on her life.

‘Tarkovsky’s body of work establishes that the Hollywood mode of narrative is not the only way in which film can create an emotional response from an audience’.[1]  In-between Solaris (1972) and Stalker (1979) he made The Mirror (1975) “A film which does not impose, doesn’t suggest anything, it just tries to arouse in you the most beautiful feelings and thoughts. A film for imaginative people.” Each of us can see, or ponder, our own life through this movie; The Mirror is our own reflection! Are some of you afraid to dream?

The Mirror's Russian Poster.
The film is said to be personal, blending childhood memories including the director’s evacuation to the countryside from his home in Moscow during the war, his relationship with his troubled father and mother, using contemporary footage, archive newsreel and actual poetry written by his father. The film covers three different time frames: pre-war, wartime and the 1960’s.

A clip from the film showing the beautiful Soviet military balloon from the Spanish Civil War.

The Mirror is typical of Andrei Tarkovsky’s directing style, long takes where time seems to stand still, and beautiful dreamy poetic imagery. It maybe hard to summarise but this is cinematic poetry that will titillate you’re visual senses. Another of Tarkovsky’s film's that deserves more than one viewing.



[1] Review of film from Michael Zeigerman.

Thursday, 26 April 2012

Ivan’s Childhood.


Ivan as played by Nikolay Burlyaev.

Andrei Tarkovsky is an original and unique artist who can never be accused of making films purely for entertainment. The Soviet directors debut full-length feature film was also my initial experience of this filmmaker, Ivan’s Childhood (1962) was the first film shown by Darren Conner at the RBC Film Club when it moved from Gracefield to the cinema proper. Contrasting a bright world of childhood reminiscences and the cruel, sombre reality of war, it caused a real sensation in World Cinema at the time of its release.  Ingmar Bergman said of the film: "My discovery of Tarkovsky's first film was like a miracle. Suddenly, I found myself standing at the door of a room the keys of which had, until then, never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease.

Russia at war!

It was quite normal in wartime Russia for very young children to help out the war effort, not all children were sent away to the safety of the countryside like young evacuees in the UK, and many of those who survived where honored for their efforts. The film starts with a young boy, Ivan played by Nikolay Burlyaev, dreaming of peacetime and his mother, (Irma Raush, Tarkovsky wife) when the 12 year old awakes from his fantasies we find him in the middle of a war zone, crossing a vast swamp, carrying vital information for the Russian high command. Because of his size he is able to pass freely between enemy lines. The story unfolds highlighting the respect that the soldiers have for the young hero and how he is offered the chance to be sent away to military school but he insists on continuing his clandestine operations.

Ivan is respected and excepted by his colleagues.

Ivan’s Childhood is a good place to start Tarkovsky’s small but important oeuvre, it comprises a more or less standard narrative plus flash backs and dream sequences. Tarkovsky’s was the second attempt to film Vladimir Bogomolov’s 1957 short story, originally it was directed by Eduard Abalov but was aborted because the Russian Arts Council deemed the work ‘unsatisfactory and unusable’. Offered to Tarkovsky in June 1961, with half the budget spent and a revamped script, he readily accepted. With this film he breathed new life into the conventional genre of World War 2 punctuating his young hero’s last days with dreams and dark premonitions, a film that say’s more about the hardships of war than a great many other movies with much larger budgets and technical gimmickry.  An authentic and classic piece of work from this great director.


Sunday, 19 February 2012

Stalker.



Stalker (Second viewing) 20th July 2014.

In the original ramble for Stalker (1979) (which follows) I said that the film, as with all Andrei Tarkovsky’s body of work, does require more than one viewing and I got the opportunity to see it again as part of the Robert Burns Centre Film Theatre’s Cult Sunday showing.

Following my first viewing nearly three years ago I said that the film would mean different things to different people, I would now add to that and say it would also depend on your state of mind at the time of viewing - it’s that powerful a movie!

This time I noticed a religious theme running through it, not necessary imagery just a theme. There was two direct quotes from the Bible, the first Revelation 6: 12-17 whispered by an off screen woman’s voice, (Stalkers wife?) and telling us about the opening of the six seal, the destruction of Heaven and Earth, and the vain attempts by the survivors to hide themselves from the wrath of the lamb. The second passage offered up by Stalker himself is from Luke 24: 13-18, which describes the meeting on the road to Emmaus between the resurrected Christ and two of his apostles who fail to recognize him. We know the film is a journey, but it now seems clearer that the journey is the journey to discover themselves and what life actually means. Once you struggle through the Zone and get to the Room it promises anything you wish but we don’t know at what cost – the price could be death of course? But getting there could be the prize in it self?  By watching this movie unfold we learn from our protagonists that they must have faith; which they develop it as their travels unfold. By not taking up the option of ‘wishing’ the Writer and the Professor were able to return with an increased knowledge of life and continue to live their lives in a different way. Even with this knowledge we know that life is not easy and would, like our two travellers, question at times if such a struggle is worthwhile?


Stalker pushes the limits of contemporary cinema.
Don’t be fooled, this is not science fiction but a moral-philosophical parable, which was described by Tarkovsky as being about ‘the existence of God in man, and about the death of spirituality as a result of our possessing false knowledge’.  There is no doubt that this is the greatest cinematic masterpiece ever produced and one your never be able to get out of your head.   

Stalker (first viewing) February 2012. 

Like a nightmare of low esteem our film begins in black and white, the camera enters a brown monochrome room through two doors. We discover there are three people sleeping in a large bed. A man rises from the bed, puts on his boots and trousers, goes through to another room, lights a fire and cleans his teeth. His wife follows him; she nags him about stealing her watch. The only person now left in the crumpled bed is Monkey the couple’s mutant daughter. The man tells his wife he’s going away again, she does not seem happy telling him she may not see him again if he goes back!!! She collapses on the floor in what seems like a sexual fit, rubbing her body through her nightdress, only stopping when she reaches an orgasm of sorts.  The man known as Stalker leaves the dwelling to meet two other men in a rudimentary bar. The first and taller of the two is the Professor; the second and more talkative is the Writer. Stalker has agreed to re-enter The Zone and act as their guide, taking them through a deserted area of abandoned debris included discarded tanks, armoured cars and concrete bunkers. Their quest is to reach ‘The Room’ where we are told ones innermost desires are realised. Authoritarian armed police guard the entry to The Zone. We have been informed that a meteor landed into this forbidden area and that soldiers had been sent in to investigate, never to be seen again.

Tarkovsky's premonition (Reactor 4 Chernobyl).

Andrei Tarkovsky Stalker (1979) is a journey that will mean different things to different people. Cold and bleak but compulsive viewing a movie that could not being fully appreciated with only one viewing. An intriguing film that breaths drama, tension and dread.  Was this film a premonition of what was to come? Seven years after the films completion an explosion and fire in a nuclear reactor at the Chernobyl Nuclear Power Plant in the Ukraine released large quantities of radioactive contamination into the atmosphere that spread as far as South West Scotland. This incident was considered to be the worst nuclear power plant accident in history. Its 30-kilometre Exclusion Zone known as the ‘Zone of Alienation’ certainly bares an uncanny resemblance to Tarkovsky vision in celluloid.

The second coming! 

The deaths from cancer of Tarkovsky in 1986, his wife Larissa and Anatoly Solonitsyn, who plays the Writer, were all due to contamination from a chemical plant upstream from the movie set! In fact most of the cast and crew are no longer with us. It's not enough to say that Stalker is a great film - it is the reason cinema was invented.[1]


http://www.flickr.com/photos/britishfilminstitute/5588403125/


[1] Geoff Dyer The Guardian 6th February 2009.