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Found 12 results

  1. I've been mulling this one over for several weeks, and was inspired to write about it in the "turning off acclaimed movies" thread by Ron's positive comment about it, but then decided to give it its own thread. The purpose of this thread is to discuss crucial climactic plot points of the film, so MAJOR follow. You've been warned. Okay, here's what's been sticking in my craw. Most sources I've read who set out to illuminate the movie's themes and meaning, including Tarkovsky himself, talk about it in terms of rejecting materialism, rediscovering spirituality, self-sacrifice, and so on. Ta
  2. Ron Reed

    Stalker (1979)

    Okay, maybe it was the wrong night to watch this one. But yeesh, that was a painful, annoying, cool-looking, talky, tedious journey to a peculiar sort of hell. Presumably others had a less agonizing, more enlightening ride?
  3. I'm reading complaints about both DVD editions of this film. Does anybody have a strong preference for the Kino or the R.U.S.C.I.C.O. version? Or is there a better version out there I should seek out?
  4. (A&F links to Andrei Tarkovsky and Stalker) Alright everyone, one of our most anticipated books of the year is out in the stores now. We might as well have a thread for it. Since Stalker is now going to be ranked #2 in our soon to be released Top 25 Pilgrimage films list, it's rather nice that there's a book coming out just now on it. From The Guardian - From The White Review - From Ruthless Culture -
  5. Ron Reed

    Tarkovsky

    mdsteves posted the following over in the Film, Criticism & Appreciation section. I figure it's a great topic, better suited to this neighbourhood - and more likely to get noticed. Just wondering if anyone likes/dislikes Andrei Tarkovsky? Mainly curious because it seems one either loves or hates his work. Personally I love the stuff but appreciation is rather demanding. Also I wonder what the thoughts are on his reject of Eisenstein's montage theory on juxtaposing shots to create meaning. If anyone cares to comment on the iconography of his work feel free. Personally Stalker is my
  6. MattPage

    Solaris (1972)

    I finally saw Soderbergh's version yesterday (how many people have seen Tarkovsky's in the cinema, but only seen Soderbergh's on video?). I guess having only seen Tarkovsky once I was quite keen to see Soderbergh's take on it, and hopefully to enlighten me about the other as well. And havng seen it to that end I thought it did well, and lets face it for a holywood film it was ambitious and adventurous. I was quite surprised that it got negative-ish views amongst those on the board. liked it. I guess maybe if you see it next to Tarkovsky it makes more sense, but I was confused by responses
  7. As pieces of imagery and as poetry I love it without reserve but I'm still not fully grasping the themes. I know that Tarkovsky is a very dense filmmaker and there are some scenes where the tone alone gives me feelings that could come together into the vaguest of overall impressions. Maybe a commentary would help, he sets up these settings that are so surreal and subtly confusing that they are practically paintings and then he places character and dialogue and context in there and it becomes just too much to take in. Add to this his penchant for completely switching gears (mood, setting, chara
  8. (A&F links to Andrei Rublev (1966), Solaris (1972), Mirror (1975), Stalker (1979), Nostalghia (1983), Voyage in Time (1983), The Sacrifice (1986), and the documentary Meeting Andrei Tarkovsky (2008).) Alright, there's no way that each of Tarkovsky's films don't get their own individual threads for purposes of their own unique discussions. I'm just about to rewatch this one. Here's a compilation of comments so far from the general Tarkovsky thread.
  9. Can anyone please put me straight about this film? I saw it several years ago and was left with the surprising and puzzling feeling that the director was some sort of pagan nature-worshipper. Nothing of the comparatively little that I've read about Tarkovsky would lead me to believe this,but does anyone please have any comments on- the film's depiction of the persecuted 'pagan' group(was Tarkovsky as a christian simply sympathetic to them because of their reverence for nature/beauty?) the very end of the film, when the montage of Rublev's beautiful icons is 'washed away',and,IIRC, there
  10. (A&F links to the general Tarkovsky thread, Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), Stalker (1979), Nostalghia (1983), The Sacrifice (1986), and the documentary Meeting Andrei Tarkovsky (2008).) http://www.youtube.com/watch?v=6EXcApkj2xI More on this later. (I'm just being thorough.)
  11. I thought y'all would be interested to know about this, so I'm pasting this text in from the latest issue of ImageUpdate, Image's bi-monthly e-newsletter: Meeting Andrei Tarkovsky The films of the Russian director Andrei Tarkovsky (1932-1986) are generally long and have little plot or action. Many find them impossible, or at least difficult, to watch. But for many others, Tarkovsky’s films have become life-changing events. His epic, Andrei Rublev, about the famous Russian icon painter, is considered one of the greatest films of all time. Steven Soderbergh so loved Tarkovsky’s science fict
  12. I'm intrested in whather Tarkovsky travled to Japan, China before making his movie Solyaris. Thank you for your informatin, Darjan.
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