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| Andrei
Tarkovsky |
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| Director
/ Screenwriter / Editor |
| 1932 - 1986 |
| Born April 4,
Zavrazhe, Ivanono, Russia |
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Key
Production Country: Russia
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Key Genres: Drama,
Psychological Drama, Psychological Sci-Fi, Science Fiction |
| 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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Highly Recommended:
Solaris (1972) |
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Recommended: Ivan's
Childhood (1962), Andrei
Rublev (1966), Stalker (1979) |
| Links: [
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 ] |
| Books: [
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 ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: Ivan's
Childhood (1962), Andrei
Rublev (1966), Solaris (1972), Mirror
(1976), Stalker (1979), Nostalgia (1983), The Sacrifice (1986) |
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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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