The 4th of April is a birthday of the Soviet film director and screenwriter Andrei Tarkovsky.
The son of a famous Russian poet Arseny Tarkovsky, he was born in the village of Ivanovo region. In 1951-1952 he studied Arabic at the Department of Middle East Department of the Moscow Institute of Oriental Studies, then, in 1952-1953, he worked at the Research Institute of Nonferrous Metals and Gold, he worked in geological parties.
International fame came to him after the film - "Ivan's Childhood". This film got many prestigious film awards, including the "Golden Lion of St. Mark" Venice Film Festival.
In the future, all the pictures Tarkovsky became notable events of cultural life in the country, affecting the spiritual development of society. The film "Andrei Rublev" (1971) with Anatoly Solonitsyn in the title role was included into the list 'the 100 best films in the history of the cinema'.
Tarkovsky's films are characterised by metaphysical themes, extremely long takes, and memorable images of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said, “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.”
Tarkovsky included levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability.[22]
Water, clouds, and reflections were used by him for its surreal beauty and photogenic value, as well as its symbolism, such as waves or the form of brooks or running water.[23]
Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self reflection.
Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.
Films directed by Tarkovsky (...)
1956 | The Killers | Убийцы | Soviet Union | 19 min. | Student film |
1959 | There Will be No Leave Today | Сегодня увольнения не будет | Soviet Union | 46 min. | Student film |
1961 | The Steamroller and the Violin | Каток и скрипка | Soviet Union | 46 min. | Student film |
1962 | Ivan's Childhood | Иваново детство | Soviet Union | 95 min. | |
1966 | Andrei Rublev | Андрей Рублёв | Soviet Union | 205 min. | |
1972 | Solaris | Солярис | Soviet Union | 165 min. | |
1975 | Mirror | Зеркало | Soviet Union | 107 min. | |
1979 | Stalker | Сталкер | Soviet Union | 164 min. | |
1983 | Nostalghia | Nostalghia | Italy/Soviet Union | 125 min. | |
1983 | Voyage in Time | Tempo di Viaggio | Italy | 63 min. | Documentary film |
1986 | The Sacrifice | Offret | Sweden | 149 min. |
List of awards won by Andrei Tarkovsky
more information here
1969 | FIPRESCI prize | Won | for Andrei Rublev [1] |
1972 | Grand Prix Spécial du Jury | Won | for Solaris [1] |
1972 | Palme d'Or | Nominated | for Solaris [1] |
1980 | Prize of the Ecumenical Jury | Won | for Stalker [2] |
1983 | Grand Prix du cinéma de creation | Won | for Nostalghia [1] |
1983 | FIPRESCI prize | Won | for Nostalghia [1] |
1983 | Prize of the Ecumenical Jury | Won | for Nostalghia [2] |
1983 | Palme d'Or | Nominated | for Nostalghia [1] |
1986 | FIPRESCI prize | Won | for The Sacrifice [1] |
1986 | Prize of the Ecumenical Jury | Won | for The Sacrifice [2] |
1986 | Grand Prix Spécial du Jury | Won | for The Sacrifice [1] |
1986 | Palme d'Or | Nominated | for The Sacrifice [1] |
Trailer to the film 'Stalker' prepared to the screening at the TV channel 'Kultura'
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