Stars: Nikolay Burlyaev, Evgeniy Zharikov, Valentin Zubkov, Valentina Malyavina | Written by Vladimir Bogomolov, Mikhail Papava | Directed by Andrei Tarkovsky
If Solaris was Andrei Tarkovsky’s answer to Stanley Kubrick’s 2001: A Space Odyssey then Ivan’s Childhood could be his answer to Kubrick’s Fear and Desire. Both were feature debuts concerning war-haunted soldiers waxing philosophical on some forgotten riverbank. The difference is that the Russian auteur’s is the vastly more accomplished film – to the extent that it would go on to win the Golden Lion at the Venice Film Festival.
Tarkovsky’s 1962 drama opens with Ivan (Nikolay Burlyaev) as a blonde angelic child, prancing in nature. Khachaturian’s music is whimsical, and there’s an air of innocent fantasy as Ivan begins to fly. He sees his mother – at which point he wakes in fright. He’s back in the war, hair matted and face blackened. The...
If Solaris was Andrei Tarkovsky’s answer to Stanley Kubrick’s 2001: A Space Odyssey then Ivan’s Childhood could be his answer to Kubrick’s Fear and Desire. Both were feature debuts concerning war-haunted soldiers waxing philosophical on some forgotten riverbank. The difference is that the Russian auteur’s is the vastly more accomplished film – to the extent that it would go on to win the Golden Lion at the Venice Film Festival.
Tarkovsky’s 1962 drama opens with Ivan (Nikolay Burlyaev) as a blonde angelic child, prancing in nature. Khachaturian’s music is whimsical, and there’s an air of innocent fantasy as Ivan begins to fly. He sees his mother – at which point he wakes in fright. He’s back in the war, hair matted and face blackened. The...
- 1/30/2018
- by Rupert Harvey
- Nerdly
A significant new retrospective of the legendary and hugely influential Russian filmmaker is a fresh opportunity to see some gorgeous films on a big screen. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Ingmar Bergman called him the greatest director. Lars Von Trier calls him “God.” The legendary Russian filmmaker Andrei Tarkovsky, who died in 1986 aged only 54, is one of the most influential in the history of the medium, a cinematic philosopher who was constantly at odds with the Soviet government, which saw subversiveness in his morosely dreamy films… as, indeed, there may well have been. Tarkovsky called his style of filmmaking “sculpting in time,” and the ambiguous moodiness of his work often encompassed a particular Russian-flavored tumultuousness on the small scale of a human life reflected against human history, full of tragedy, trauma, and torment. But...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Ingmar Bergman called him the greatest director. Lars Von Trier calls him “God.” The legendary Russian filmmaker Andrei Tarkovsky, who died in 1986 aged only 54, is one of the most influential in the history of the medium, a cinematic philosopher who was constantly at odds with the Soviet government, which saw subversiveness in his morosely dreamy films… as, indeed, there may well have been. Tarkovsky called his style of filmmaking “sculpting in time,” and the ambiguous moodiness of his work often encompassed a particular Russian-flavored tumultuousness on the small scale of a human life reflected against human history, full of tragedy, trauma, and torment. But...
- 5/20/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
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