Takovski

Introduction:

Andrei Tarfsky: 1932 was born in Zaflosse, Russia, the son of the poet Arseni Tarfsky. He studied at the Soviet Film Academy and graduated in 196 1. His films have won many international awards; Ivan's Childhood, the first feature film, won the Golden Lion Award at the Venice Film Festival in 1962. His last work, Sacrifice, won a special award from the jury of 1986 Summer Film Festival. In the same year1February, Tarfsky died of lung cancer in Paris at the age of 54.

Writing:

Carving time

Many film critics have tried to interpret his strong personal vision, but it is always difficult to reach. Finally, in Carving Time, he recorded his thoughts and memories, revealed the creative inspiration, development context, working methods and strong autobiographical connotation of his important works for the first time, and deeply discussed various problems in image creation. These articles have been written for a long time, but the chapter of "sacrifice" was dictated in the last weeks of his life. In this artistic witness, we see the master carving life in "a mass of time", as if time passes through the lens and is engraved in the picture.

(A) tarkovsky's works

Op. 1: Andre and Lublev (Andre's passion)

The abstract beginning of the film reflects the mysterious undercurrent that runs through the whole film: a farmer dives into a tall tower, boards a crude hot air balloon, successfully rises to the sky for a while, but finally falls heavily to the ground. Analysis:> Obtaining anatomical features from each part will not only be tedious, but also completely personalized.

< Andrei Lubiliev >:> It is shot entirely in black and white film (except at the end of the film), and a lot of long shots and moving follow-up shots are used. Watch:> This is a visual and ideological journey: a thematic exposition of Lublev's life, a cave candle about the bleak living conditions in medieval Russia, and a meditation on exploring the light of spirit and art. Contrary to what the title implies, this film is not a biography of a Russian idol painter; In fact, "anatoli solonitsyn" is similar to a marginal role: a chronicler of medieval life, trying to create religious art in a barren world lacking inspiration and collaboration. Tarkovsky's interest is not to promote Loubry's husband through extreme dedication or great compassion. Loubry's husband is just a mortal: a monk seduced by a slutty pagan woman, an artist who doubts his ability to finish church murals, and a Christian who committed the original sin. Loubry's works preserved to this day bear witness to his struggle for beauty and inner peace in a turbulent world. This theme recurred in tarkovsky's tragic and short life: man is subject to the environment and is also the result of the environment.

Loubry's nomadic life is not only because of his itinerant work, but also a symbol of his spiritual roaming. Loubry's husband sought inner peace through his serious life as a monk, but he was tortured by impermanence. In the historical order, environmental disturbances are manifested as hedonistic peasants, pagan rituals and the invasion of Tatars, which metaphor Rubilev's ambivalence and mental breakdown. In the film language, tarkovsky shuttles back and forth between the outer space-time and the inner space-time with single-line and circular lenses, showing the communication between the individual and the surrounding environment. As an episode, the theme cycle is also reflected in the return of the humble monk kirill (Ivan Lapikov), the simple-minded Durochka (irma Rush) and the imprisoned wandering artist (Rolan Bykov [12307]). The supervisor of the casting clock, a young foundry worker (Stepan Krylov), is essentially the incarnation of the young Rubilev. During Bell's casting, Loubry Yev wandered around in Bell's casting team. Finally, in the successful ringing of the bell, the little caster repented of his deception to the old monk, and then the camera slowly moved out and rose to the top of his head, just like a farmer in a hot air balloon. Rubilev's passion is back.

Op. 2: Homesickness

If vittorio de sica's and Fedorig Ferini's new realistic films explore the empirical essence of individual primitive mind, then Tarkovsky's < < homesickness > > is a poetic expression of spirit and soul. Russian writer Andrei Gorchakov (oleg yankovskiy) and his beautiful female translator Eugenia (domiziana giordano) go to Italy to study languages. Their experiences on the road: a rural church where women pray in front of the statue of the Virgin Mary; A natural hot spring, where villagers bathe every day in order to restore their youth; An eccentric old man named domenico imprisoned his family for seven years under the illusion of the end of the world. The villagers thought domenico was crazy. As part of the atonement plan, he tried to cross the hot spring with lighted candles, but he failed. He asked Andre to finish this seemingly harmless task for him. Andre reluctantly agreed to his illogical request, but was aroused by the broken omen, so he didn't refuse him. He turned down the sexy Eugenia, and she left him inevitably. He was immersed in a lonely and vague dialogue that transcended reality.

The color conversion between the lush scenery in Italy and the quiet tone in the Russian countryside reveals his homesickness and his universal and profound desire for the light that has been avoiding him. He was separated from his family and far from his motherland, and now he is alone and begins to perform this existential task.

< < homesickness > > Highly ideological, beautiful and full of obscure symbols, this is the film abstraction of spiritual longing. In fact, Andre's ambiguous trip, Carl and domenico's last incredible action in the church all conveyed this natural desire. In the last scene, Andre raises his coat to protect the flickering candlelight. This is a symbolic revelation of the soul, and the struggle to put out the spiritual fire finally fulfilled him. But the ending was unlucky. Stupid colors filled the streets of Italy, infecting people there with melancholy thoughts that also exhausted him. Tarkovsky filmed & gt and dedicated this film to his mother as a memorial to her. This is a sad film, mourning the irreparable past and the unpredictable future.

Op. 3: mirror

Mirror is an autobiographical film by tarkovsky, which tells the story of lost innocence and emotional abandonment, and has excellent image and artistic inspiration. This film presents a slow montage of contemporary daily life, personal memory, historical events and dreams. Mirror is a journey of introspection, which has experienced human existence, hope and loss, success and failure: a TV program cured a young man's stuttering through hypnosis; A neglected wife succumbed to a lost country doctor; An argument between a preserved anonymous narrator and his ex-wife; A precocious young man endured his instructor. It is meaningless to try to integrate these images into a coherent structure or a unified conclusion.

After all, the mirror is a reflection of tarkovsky's tortured soul: his exploration of spirituality, causality and truth is exposed through lingering images, which inevitably define our flawed life, no matter how trivial and mundane.

By using the same actor to express the two stages of the narrator's life, tarkovsky deliberately blurred the concept of time: the child who lost his father tried to get close to the deranged mother, while the alienated father could not care about his son who was keen on his own ideas. Time-disordered newsreels about world events are scattered among them, providing environmental index and tone conversion. The structure of the film continues to advance through flashback and pre-flashback, and is expressed through color conversion. This leads to the recurring theme of the film, which embodies the alienation style and emotional isolation of the narrator. The lack of logical order in the film has aroused the audience's heartfelt reaction: the knowledge we have experienced does exist in its intoxicating beauty and desperate desire ... and may even exist in a short communication with the artist himself.

Op. 4: Stark [sports shoes]

Twenty years ago, a star crashed into a Russian town on the earth, causing a large number of deaths. The villagers ran away from this strange area (now called the zone) and disappeared. Legend has it that there is an inner room called a room, which can satisfy people's deepest wishes. Fearing the possible consequences of this mysterious house, the army immediately surrounded the area with barbed wire and filmed the patrol of the armed forces. However, despair and pain continue to drive people to resist and take risks. The leader is a well-trained and experienced stalker who can quietly pass through the ever-changing traps and traps in the area. There is a successful writer (anatoli solonitsyn) and a scientist (nikolai grinko). One person may seek inspiration and adventure, and another person employs the Invisibility Master [[Aleksandr Kaidanovsky]] to lead them through this area in order to find out the truth. The stalker was trained by a famous stalker named porcupine. On the other hand, the porcupine once entered this area with his brother, came back alone with a lot of money, and committed suicide a week later. Soon there was evidence that their biggest obstacle was not reaching the restricted area, but their deepest uncertainty. When they arrived at the door of the room, their fear of promising their dreams to come true led to profound enlightenment and self-discovery.

With quiet images and lofty metaphors, the stalker made an unforgettable exploration of the essence of the soul. Tarkovsky uses color conversion to describe the subconscious and the outside world. Thematically, like flying into the sky, this transformation separates physical reality from the subconscious like a dreaming machine. Please note that no matter how the stalker warned not to take the same road twice, the scientist still went back the same way and found his backpack unscathed, showing doubts about the stalker's principle. From the symbolic point of view, it seems that the subconscious deliberately refuses its sincere wishes and creates obstacles to prevent its realization. After a circuitous journey, they arrived at the reception room of the room, but hesitated, unable to confirm their deepest desire, that is, spiritual desire. Coins, syringes, needles, weapons and religious icons are scattered all over the floor, which is a reflection of the soul seeking to escape from pain. Finally, the real or imaginary ability of the room is meaningless to these tired and contradictory seekers. Everything is just on the road.