By Robert Bird
Andrei Tarkovsky (1932-1986) was once one of many nice poets of global cinema. A fiercely self reliant artist, Tarkovsky crafted poignantly appealing motion pictures that experience confirmed inscrutable and been bitterly disputed. those characteristics are found in abundance in Andrei Rublev (1966), Tarkovsky's first absolutely mature movie. Ostensibly a biographical research of Russia's most renowned medieval icon-painter, Andrei Rublev is either lyrical and epic, starkly naturalistic and allegorical, authentically historic and urgently topical. whereas a lot is still mysterious in Andrei Rublev, critics have lately all started to reappraise it as a groundbreaking movie that undermines cozy notions of lifestyles and spirituality. Robert Bird's multifaceted account of Andrei Rublev extends this reevaluation of Tarkovsky's radical aesthetic by way of constructing the film's old context and featuring a considerably new examining of key scenes. chicken definitively establishes the film's tortured textual historical past, which has ended in greatly assorted types. He relates the movie to traditions in Russian paintings and highbrow background, yet ultimately his research specializes in Andrei Rublev as a visible and narrative art that treats profound existential questions by means of hard traditional notions of illustration and imaginative and prescient.
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Extra info for Andrei Rublev (BFI Film Classics)
There were precedents for Tarkovsky's endeavour. Iakov Protazanov took advantage of the brief interlude between the two revolutions of 1917 to produce Father Sergius (1918), adapted from a late story by Lev Tolstoy in which an officer enters a monastery, resists the sexual provocation of a society woman he used to know, but then viciously takes advantage of a retarded girl entrusted to his care.. Rublev's temptation by Marfa and his relationship with the holy fool rever se Tolstoy's pattern, suggesting a contrast between Rublev's hesitant humility and Father Sergius' hypocrisy.
5 1964, P 142; el. Tarkovsky,AndreiRublev, pISO 86 Pavel Florensky, The Pillar and Foundatlon oI the Truth, transo Bods Jakim (Prineeton, NJ: Prineeton University Press, 1997), p 45 See also Jakim's essay 'Leaps f,om the Seientifie to the Theologieal in The Pillar and Ground oI the Truth', in Pavel Florenskij - Trodition und Modeme (eds), Miehael Hagemeister etal (Frankliut am Main: Peter Lang, 2001), pp. 97-106 87 Pavel Florensky, lconostasÚ, transo Donald Sheehan and OIga Andrejev (Crestwood, NY: SVS Press, 2000) 68 88 Pavel Florenskii, Stat'i r issledovantiapo lstorii ifilosofii isku55tva l arkheologii (Moscow, 2000), p 223 Tarkovsky refers to Florensky's aesthetics 01 the ieon in 5culptmg m Time, p 82 I have not been able 10 determine when this part of the text was wdtten, but it is possible that Tarkovsky knew Florensky's work, whether diteetly or inditeetly, before beginning work on thefilm 89 Tarkovsky, 'Slovo ob Apokalipsise', p 99 90 Tarkovsky, 'Slovo ob Apokalipsise', p lOO Andrei Rublev (The Passion According to Andrei) (J) (") (J) USSR 1966/1969 Director Andrei Tarkovsky Screenplay Andron Mikha1kov-Konchalovsky Audrei Tarkovsky Director of Photography Vadimlusov Editors Liudmila Feiginova, T Egorycheva, O Shevkunenko Set Design Evgenii Cherniaev, with lppolit Novoderezhkin, S.
New York and London: Routledge, 1996),pp.