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Download e-book for kindle: Andrei Tarkovsky: The Winding Quest by Peter Green

By Peter Green

A survey of the paintings of Andrei Tarkovsky, the Russian film-maker who lived from 1932-1986. it's a severe exam of his movies within the mild of his personal writings and lifestyles, his aesthetics of movie, his concept of time in cinematography and an try and understand his imaginative and prescient. the flicks which are tested are: "Ivan's Childhood", "The Mirror" and "Andrei Rublyov". The e-book is to be released at the anniversary of Tarkovsky's start in April 1992.

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Additional resources for Andrei Tarkovsky: The Winding Quest

Example text

It is unlikely that the playful scenes between Rublyov and his patron's children or Rublyov' s interview with the Grand Prince himself take place during this period of art­ istic crisis. The passage makes greater sense if it is read as a flashback to a happier time, when Rublyov had been awarded the commission. The transition into these scenes is of bewildering simplicity. From the unpainted cathedral, where everyone is waiting for Rublyov to begin work, the camera simply pans into a different time - as if time and place were one - and Rublyov is seen playing with the Grand Prince's daughter.

What is interesting here, though, is the contrast­ ing role played by unmounted horses, which almost always have some magical quality about them. They are wild, unbridled crea­ tures of nature. Two of the most haunting scenes in the Vladimir chapter are when a horse falls from a flight of steps; and, at the very end, when - the cathedral littered with bodies, the raiders gone - a solitary horse enters, neighing and causing the deaf-mute girl to start. There are many other examples of this contrast between eques­ trian power and unbridled nature.

Again, the idea of sacrifice was to have appeared in an episode dealing with 'The Field of Virgins' - where, historically, the Russian women cut off their hair as a ransom to the Tartars. It was an event of symbolic significance that Tarkovsky had originally planned to depict in the film. Although it was ultimately left out, it provides another glimpse of the role in which he saw CONCLUSION The expectations of the Soviet authorities, who wanted a positive treatment of the historical aspects of the subject, and the intentions of the director stood in opposition from the outset.

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