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Andrei Tarkovsky |
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Director / Screenwriter |
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1932 - 1986 |
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Born April 4,
Zavrazhe, Ivanono, Russia |
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Key
Production Country: USSR
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Key Genres: Drama,
Psychological Drama, Psychological Sci-Fi, Science Fiction |
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Key
Collaborators: Nikolai Grinko (Leading
Character Player), Anatoli Solonitsyn (Leading Player), Lyudmila Feiginova (Editor),
Vadim Yusov (Cinematographer), Eduard Artemiev (Composer), Erland
Josephson (Leading Player), Oleg Yankovsky (Leading Character Player),
Vyacheslav Ovchinnikov (Composer) |
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Recommended: Ivan's
Childhood (1962)*, Andrei Rublev (1966)*, Solaris (1972)*, Stalker (1979)* |
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Worth a Look: Mirror (1974)*, The Sacrifice (1986)* |
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Approach with Caution:
Nostalghia (1983)* |
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* Listed in TSPDT's
1,000 Greatest Films
section. |
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Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ] [
Film Reference ]
[
Article:
Master of the Cinematic Image ]
[
Nostalghia.Com ]
[
Strictly
Film School: Tarkovsky Page ] [
Andrei
Tarkovsky's Nostalghia for the Light ] [
kamera Article (2005) ] [
Article:
The Genius of Andrei Tarkovsky ]
[
Offscreen Article ] |
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Books: [
Andrei Tarkovsky: Elements of Cinema
] [
The Sacred Cinema of Andrei Tarkovsky ] [
Through the Mirror: Reflections on the Films of Andrei Tarkovsky ] [
The
Films of Andrei Tarkovsky: A Visual Fuque ] [
Andrei
Tarkovsky: Sculpting in Time - Reflections on the Cinema ] [
Tarkovsky:
Cinema as Poetry ] [
Instant Light: Tarkovsky Polaroids ] [
Andrei Tarkovsky (Pocket Essentials) ] [
Andrei Tarkovsky: Interviews ] |
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"From Solaris
on, Tarkovsky's pessimism and aloof mysticism led to
increasingly portentous, turgid, even obscure
narratives with woolly philosophising couched in
laboured dialogue, meticulous compositions featuring
a hackneyed use of conventional symbolism, and long,
often wordless scenes shot with an almost
imperceptibly slow-moving camera; the sparse, glum,
painstakingly composed 'beauty' often seemed hollow,
hinting at deeper metaphysical meanings than story,
characters or dialogue could convey." -
Geoff
Andrew (The Director's Vision, 1999) |
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"Some of the most intensely personal and visually
powerful statements to have come out of Eastern
Europe for many decades are made in Andrei
Tarkovsky's seven films." -
Ronald Bergan (Film - Eyewitness Companions, 2006)
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"Tarkovsky
is the greatest of them all. He moves with such
naturalness in the room of dreams. He doesn't
explain. What should he explain anyhow?" -
Ingmar
Bergman (The Magic Lantern, 1988) |
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"Although
all his films are self-reflexive, he does not draw
attention to the camera for radical Brechtian
reasons. He is not trying to subvert bourgeois
narrative codes. He is not even assaulting the
tenets of Socialist Realism, a doctrine he found
every bit as unappealing as Western mass culture
aimed at the consumer. What his constant use of
tracking shots, slow motion, and never-ending pans -
indeed his entire visual rhetoric - seems to
emphasize is that he is moulding the images. He is a
virtuoso, and he wants us to be aware of the fact."
-
G.C.
MacNab (The St. James Film Directors Encyclopedia, 1998)
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"Juxtaposing
a person with an environment that is boundless,
collating him with a countless number of people
passing by close to him and far away, relating a
person to the whole world, that is the meaning of
cinema." - Andrei Tarkovsky |
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"Andrei
Tarkovsky remains the most esteemed Soviet filmmaker of the
post-World War II era despite having a relatively small body
of work. An uncompromising artist and visionary who refused
to bend either to Soviet governmental authorities or to
commercial considerations, he completed only seven features
and one short. His films were years in the making and often
faced distribution delays or limited release. Each answered
to his personal vision and gave form to the central concern
of his own life, the difficulty of sustaining a sensitive,
artistic temperament in a harsh world."
-
Vance Kepley Jr., Schirmer
Encyclopedia of Film |
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●
Top 250 Directors |
| ●
100 Essential Directors (Pop
Matters) |
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●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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Ingmar
Bergman |
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Robert Bresson |
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Nuri Bilge Ceylan |
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Carl
Dreyer |
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Sergei
Eisenstein |
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Werner
Herzog |
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Krzysztof
Kieslowski |
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Stanley Kubrick |
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Chris
Marker |
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Vsevolod Pudovkin |
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Steven
Soderbergh |
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Aleksandr Sokurov |
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Andrei Tarkovsky's Favourites |
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City Lights (1931)
Charles Chaplin,
Diary of a Country Priest (1950)
Robert Bresson,
Mouchette (1966)
Robert Bresson,
Nazarín (1958)
Luis Buñuel,
Persona (1966)Ingmar
Bergman,
Seven Samurai (1954)
Akira Kurosawa,
Ugetsu monogatari (1953), Wild Strawberries (1957)
Ingmar Bergman,
Winter Light (1962)
Ingmar Bergman,
Woman in the Dunes (1964) Hiroshi Teshigahara. |
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