By Peter Green
A survey of the paintings of Andrei Tarkovsky, the Russian film-maker who lived from 1932-1986. it's a severe exam of his movies within the gentle of his personal writings and existence, his aesthetics of movie, his thought of time in cinematography and an try to understand his imaginative and prescient. the movies which are tested are: "Ivan's Childhood", "The Mirror" and "Andrei Rublyov". The booklet is to be released at the anniversary of Tarkovsky's start in April 1992.
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Extra resources for Andrei Tarkovsky: The Winding Quest
Sample text
In a long monologue, spoken off, as if expressing Kyrill' s thoughts aloud, The fact that the vanitas images occur most frequently in the through his work suggests that they are not there by chance. Tarkovsky takes his preoccupation with the process of painting a stage further, however, creating tableaux-like scenes in his own medium. During the dialogue in the wood, when Theophanes insists that man is weak and incapable of change, as if to underline his argument he states that, if Christ were to return to earth, He would be crucified again.
As such, the phe nomenon is related to the idea of 'inmost wishes' described in Stalker. Kelvin expresses his remorse not just for the death of his wife, but �or the loss of the other members of his family: in his encounters With his mother, and with his father at the end. As such, it is also a token of his nostalgia for the past and for his life on Earth. Through these confrontations, through suffering, Kelvin, lik� the stalker, finds salvation. The meaning of Snaut's discussion of human normality becomes apparent in the light of this as well.
Harey has sacrificed h�r elf for elvm s sake and submitted to Sartoriu � s's pro _ cess of �nnihilation, m which an end has been put to the whole aumati� phenomenon of materialisation - a flash, a mere breath of arr, nothing more. 6 �artly � response to Lem's objections, Tarkovsky combine d the two _ figures m the film, making one a reincarnation of the other. In this he �r�:wides another striking example of his fondness for merging iden _ tities - which he takes a step further in Solaris, in an almost Freudian situation in which the figures of Harey and Kelvin's own mother (materialisation and memory) seem to dissolve into each other.