By Robert Bird
Andrei Tarkovsky (1932-1986) was once one of many nice poets of worldwide cinema. A fiercely self reliant artist, Tarkovsky crafted poignantly appealing motion pictures that experience confirmed inscrutable and been bitterly disputed. those traits are found in abundance in Andrei Rublev (1966), Tarkovsky's first totally 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 old and urgently topical. whereas a lot continues to be mysterious in Andrei Rublev, critics have lately started to reappraise it as a groundbreaking movie that undermines cozy notions of existence and spirituality. Robert Bird's multifaceted account of Andrei Rublev extends this reevaluation of Tarkovsky's radical aesthetic through constructing the film's ancient context and featuring a considerably new examining of key scenes. poultry definitively establishes the film's tortured textual historical past, which has ended in greatly diversified types. He relates the movie to traditions in Russian paintings and highbrow historical past, yet ultimately his research specializes in Andrei Rublev as a visible and narrative art that treats profound existential questions via demanding traditional notions of illustration and imaginative and prescient.
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Additional info for Andrei Rublev (BFI Film Classics)
Fil'my Dokumenty Svidetel'stva. eol'skogo Razmyshleniia, issledovaniia, vospominaniia, pis 'ma (Moscow: Iskusstovo, 1991), pp 37-64 Nikulin, Iurii, 'Str asti po Andreiu', Pochti ser'ezno (Moscow: Terra, 1994), pp 550-2 Solzhenitsyn, A1eksandr. ea V trekh tomakh (Yaros1av1: Verkhniaia Vo1ga, 1997), voL 3,pp 157--67 Strick, Philip, 'Re1easing the Balloon, Raising the Bell', Monthly Film Bulletm, vol. 58, February 1991,pp 34-7 Tarkovskaia, M. eol'sky Cmema a, Poezry, trans Natasha Ward, ed.. 5stvo kino no.
S Chugunova in Tmovskaia, 7;;' Jean Schnitzer, 'l'artiste dans l'ancienne Russe et dans l'URSS nouvelle (Entretien avec Andrei Tarkovsky)', P05itij, Oetober 1969 (109), pp 1-13: 4 31 D S Likhachev, Kul'tura Rusi vremeni Andreia Rubleva l EpifanÚa Premudrogo (Moscow, 1962), pp 49,58 Kirill's alleged quotation from Kostenecki has no analogue in the latter's work and reflects Likhachev's interpretation of his ideas. The quotation atttibuted to Epiphanius can be found in: 'Zhitie Sergiia Radonezhskogo', Pamiatnilei literatury drevner RU5i XIV~¡eredina XV veka (Moscow: Khudozhestvennaia liter atur a, 1981), p 290 32 Tarkovsky, Swlptlng in Time, p 78 33 Ciment etal, 'L'artiste dans l'ancienne Russe', p 9 34 See A Nikol'skii, 'Net dyma bez ognia' , Kroleodilno 27, 1965 35 Tluovskaia, Ti, pp 74-5; Nikulin, 'Strasti po Andreiu', p 551 36 Interview with Aleksandr Misharin on the RusCiCo / Artificial Eye DVD of The (fJ p 116 52 L Soldatov, , Mirror I zapylala korova', Vecherniaza Mosleva, 24 Deeember 1966, 37 Nikolai Glazkov, Platara kmga (Moscow: p 3 Sovetskii pisatel', 1966), pp 39--40; 'Ihe Flying Peasant' is on pp 35-8; other poems on the filming füllow on pp 44-9,57-9 See also his poem 'On the Fiheenth Century' (dedicated te Tarkovsky (Dorogi l ,vezdy.
Eir ekran no. 135-60 Egorova, Tatiana K Soviet Frlm Mu,ic· An Histoncal Survey, trans. Tatiana A. fil'my Dokumenty Svidetel'stva. eol'skogo Razmyshleniia, issledovaniia, vospominaniia, pis 'ma (Moscow: Iskusstovo, 1991), pp 37-64 Nikulin, Iurii, 'Str asti po Andreiu', Pochti ser'ezno (Moscow: Terra, 1994), pp 550-2 Solzhenitsyn, A1eksandr. ea V trekh tomakh (Yaros1av1: Verkhniaia Vo1ga, 1997), voL 3,pp 157--67 Strick, Philip, 'Re1easing the Balloon, Raising the Bell', Monthly Film Bulletm, vol.