By Robert Bird
The masters of Russian arts and letters are a prestigious fraternity that comes with such popular artists as Tolstoy, Rachmaninoff, and Shostakovich. yet along those luminaries stands a lesser-known yet both respected determine, filmmaker Andrei Tarkovsky. Robert chook deals in Andrei Tarkovsky an unheard of research of Tarkovsky’s oeuvre and its far-reaching impact on international cinema.
Bird brings a unique method of his dissection of Tarkovsky’s totally unique suggestions and sensibilities, arranging the movies into elemental different types of Water, hearth, Earth, and Air. Solaris, Ivan’s Childhood, Mirror, Nostalgia, Andrei Rublev, and Sacrifice all get their due the following; via them, fowl explores how the filmmaker probed the elusive correlation among cinematic illustration and a extra primeval conception of the realm. although the publication additionally considers Tarkovsky’s paintings in radio, theatre, and opera—as good as his paintings as an actor, screenwriter, and movie theorist—Bird all through retains his concentration firmly on Tarkovsky as a consummate filmmaker. Anchored by means of a wealth of movie stills and images, Andrei Tarkovsky is a must-read for all movie buffs and admirers of ecu cinema. (20070608)
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Additional resources for Andrei Tarkovsky: Elements of Cinema
Both Ivan and the camera arc in motion, which creates a disorienrating and dizzying per spective; this i s crowned when we imagine rhc camera to be following Ivan's perspective as he runs down a hill, only for ir ro swoop up violently and inhumanly. Ivan is rhcn shown framed against the earth, which itself i s knorrcd with tree roots (a shot that is repented practically verbatim in A11drei Rublev, in the episode 'Thcophanes the Greek'); the camera suddenly turns upwards to frame the anxious mother in close-up.
The painr smear is nor yet a fresco, bur ir docs 8::. I c�rrh express Andrei's desire ro form his raw horror inro a visual representa tion, and ro interrupt rhc Aow of spilled blood and painr wirh an image. Curiously, when rhe holy fool looks ar ir in anguish rhe smear ha a dif ferent shape, uggc ring rhar ir speak in disrincr W:l)' to each pair of eye . The Ia r shor of rhc episode is also suggestive: afrer Andrei leaves, rhc remaining characters arrange rhemsclvc· inside rhe church in two ranks (reminiscent perhaps of the ranks of saints in the iconosrasis), and rhen rhe hoi)' fool exits through rhc doors inro rhe light and rhe rain, ns i f into the spnce of Rublcv's icon of rhe Old Testflmenl Trinity.
In episode 2 ('Theophanes the Greek') Theophanes' and Andrei's dispute is shot in a single long take of almost three minutes, which commences with Foma crouching on the river bank. The camera rises rogether with Foma, but then dwells on Andrei and Theophanes, whose figures execute a complex ballet while the camera Aoars around them. As Andrei expounds a paradoxical understanding of screen I 81 rhc Ru sian people and rhe Crucifixion, the camera comes ro rcsr on rhc back of hi head and then curs ro a hot of a white clorh i n Aowing warcr; a the camera zoom our, thi� cloth is revea led to be the fir t hor of a new ccnc consisting of a Pa -,ion pia)•, set in wintry Russia, accompanied by a drum and choral music, and featuring winged angels.
Andrei Tarkovsky: Elements of Cinema by Robert Bird