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Topic: Andrei Rublev (film)

	Andrei Rublev (film) - Wikipedia, the free encyclopedia
		Andrei Rublev (Russian Андрей Рублёв), also known as The Passion of Andrei, is a film made by Andrei Tarkovsky on Mosfilm in the Soviet Union in 1966.
		The film is for the most part in fl and white, except for the last few minutes, which are in color, showing details of several of Rublev's icons.
		Andrei is rather an observer who looks on upon the events in the movie, especially evident in the sequences centered on the casting of the bell towards the end of the movie, where Andrei plays the role of observer and is not central to the scenes.
	en.wikipedia.org /wiki/Andrei_Rublev_(movie) (1097 words)

	Andrei Tarkovsky
		Filmed in stark fl and white (excluding the epilogue), and using long shots and fluid tracking, Andrei Rublev is a visual and cerebral journey: a thematically adaptive interpretation of Rublev's life, a conduit into the bleak existence of medieval Russia, a meditation on the search for the spiritual and artistic light.
		Rublev (Anatoli Solonitsyn) is, in fact, almost a peripheral character: a chronicler of medieval life, attempting to create religious art in a harsh world devoid of inspiration and community.
		Andrei Tarkovsky deliberately obscures time by using the same actors to portray the two phases of the narrator's life: the fatherless boy attempting to reach out to his distracted mother, and the distant father unable to relate to his self-absorbed son.
	www.filmref.com /directors/dirpages/tarkovsky.html (2561 words)

	Andrei Rublev - Wikipedia, the free encyclopedia
		Andrei Rublev probably lived in the Troitse-Sergiyeva Lavra under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392).
		The first mention about Rublev’s iconography was in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Feofan Grek and Prokhor of Gorodets.
		At Stoglavi Sobor (1551) Rublev’s iconography was announced as a model for church paintings.
	en.wikipedia.org /wiki/Andrei_Rublev (385 words)

	Petrova on Andrei Rublev
		The director's theoretical statements and the film's intervention in the Russian ideological and cultural discourse are the necessary background to a discussion of its complex fictional construction of history.
		Tarkovsky's experimental efforts in Andrei Rublev are, to a great extent, an attempt to intervene in the verbal/visual dichotomy, examining the narrative and representational potential of the film medium and pushing the limits of their mutual implication and referentiality further.
		Andrei Rublev is central to Tarkovsky's exploration of the Trinitarian model on several levels of the plot, but his fascination with the dramatic possibilities of the triad is echoed in other films as well, for instance, the character structure in Solaris (Soviet Union, 1972) and Stalker (West Germany/Soviet Union, 1979).
	www.latrobe.edu.au /screeningthepast/19/andrei-rublev.html (3306 words)

	Guardian Unlimited Film \| Features \| Andrei Tarkovsky: Andrei Rublev
		Rublev was not a fictional character but an icon painter and monk who lived and worked on the cusp of the 13th and 14th centuries, trained by the even more celebrated Theophanes the Greek.
		The film begins with a peasant launching himself in a balloon from a cathedral across the landscape of medieval Russia and ends with a superb montage of Rublev's surviving icons.
		The film is as much about the role of the artist in society as it is about the emergence of the Russian nation.
	film.guardian.co.uk /Century_Of_Films/Story/0,4135,147448,00.html (511 words)

	EUFS: Andrei Rublev (Site not responding. Last check: 2007-10-22)
		Rublev the man was an important painter of icons in the 15th century.
		The film depicts eight imaginary episodes from his life, and is concerned primarily with his loss of his faith, his art, and even his speech, as a result of the cruelty which he sees all around him; then the regaining of these things.
		The film was not permitted to be released for several years, for it was thought too bleak and depressing for the 50th anniversary of the October Revolution.
	www.eufs.org.uk /films/andrei_rublev.html (152 words)

	Andrei Rublev: The study of a visually stunning movie, depicting that which cannot be filmed
		The film is a biography of sorts, as Andrei Rublev was a 15th-century monk regarded as Russia’s greatest icon writer.
		In an attempt to explain “why this film can seem more powerful than the average film,” Bird excavates the filmic traditions of the time, the social reality of what life was like in the USSR and what he believes are the artistic movements of which the movie is a part.
		Andrei Rublev is an important cultural artifact to view and study for its literary and artistic value, Bird said.
	chronicle.uchicago.edu /050303/rublev.shtml (1075 words)

	[ Nostalghia.com \| The Topics :: Andrei Tarkovsky on Andrei Rublev ]
		This is the root of the gradual degradation of the film director.
		Our film about Andrei Rublev will tell of the impossibility of creating art outside of the nation's aspirations, of the artist's attempts to express its soul and character, and of the way that an artist's character depends upon his historical situation.
		Rublev was the summit of the Russian renaissance, one of the most colourful figures in the history of our culture.
	www.acs.ucalgary.ca /~tstronds/nostalghia.com/TheTopics/TarkovskyonRublev.html (3591 words)

	Journal of Religion and Film: Andrei Rublev: Religious Epiphany in Art by Nigel Savio D'Sa
		Their Rublev is, for the most part, a passive and reflective observer of his times, seeking, in his art, a response and solution to the discords in Russia.
		Nature is as much a part of the film as Rublev is, and the choice of fl and white film contributes strikingly to the sense of hardship and toil amidst the oppressive grandeur of land and weather.
		Rublev ends the vision by saying, "Perhaps Christ was born and died to make peace between God and man." This statement is also, in a sense, Tarkovsky's view of the role of the artist.
	www.unomaha.edu /jrf/saviodsa.htm (3384 words)

	Andrei Rublev - Essay
		When Andrei Tarkovsky's dark, startling Andrei Rublev first materialized on the international scene in the late 1960s, it was an apparent anomaly-a pre-Soviet theater of cruelty charged with resurgent Slavic mysticism.
		At once humble and cosmic, Tarkovsky called Rublev a "film of the earth." Shot in widescreen and sharply defined fl and white, the movie is supremely tactile-the four elements appearing as mist, mud, guttering candles, and snow.
		The film was too negative, too harsh, too experimental, too frightening, too filled with nudity, and too politically complicated to be released-especially on the eve of the Revolution's 50th anniversary.
	www.coldbacon.com /movies/andreirublev-essay.html (1070 words)

	Andrei Rublev
		Among the greatest of all historical epics is Andrei Tarkovsky's Andrei Rublev, a 15th Century biopic that's hardly an epic at all in the conventional sense.
		In that way, Rublev's character here is emblematic of The Artist, particularly one torn between a devotion to the spiritual and the nagging sensation that, perhaps, there is a great hypocrisy behind much of what masquerades as spirituality.
		The film shows its age, as the fl-and-white image exhibits a bit of flicker, but there are no jarring instances of damage.
	www.deep-focus.com /flicker/dvd/andreiru.html (1102 words)

	Wellington Film Society - ANDREI RUBLEV
		Andrei does not intervene in the fool's arrest; and he is caught up only reluctantly in the pagan revels of The Holiday (although here his emotional complicity is suggested by a shot of his gown catching fire as he gazes in sensual awe at the naked revellers).
		She weeps at the paint smeared angrily on the church wall by Andrei when he hears the news of the ambush; and after the massacre in the church, she devotes herself diligently to plaiting a dead woman's hair.
		ANDREI RUBLEV handily demonstrates one of the intriguing curiosities of Soviet film.
	filmsociety.wellington.net.nz /db/screeningdetail.php?id=350&sy=2005 (685 words)

	Andrei Rublev
		Rublev is the founder of a school of painting in the Christian Orthodox tradition.
		The film has a grainy quality and a slow pace, elements that enhance the feeling that you are peering into actual time and place.
		Tarkovsky's film is surprising because in the enforced atheism of the Soviet Union, the authorities allowed a film to be made with a religious theme, and obvious dedication of considerable resourses, not to mention the freedom the director had to put his personal stamp on the atmosphere and character of the presentation.
	www.1worldfilms.com /andrei_rublev.htm (870 words)

	BBC - Films - Andrei Rublev
		Based on the life of a 15th century icon painter, Andrei Rublev is comprised of eight acts following Rublev (Anatoli Solonitsyn) through the political and social upheavals of medieval Russia.
		Perfection lingers in each frame as Tarkovsky crafts one of the finest films ever made, an ecstatic story about art that has little interest in the artist himself, but in the power of art to transcend the age that produces it.
		Rublev becomes Tarkovsky's own canvas, and it is on him that the filmmaker paints a vision of his belief in art as a means of rediscovering the spiritual.
	www.bbc.co.uk /films/2004/06/25/andrei_rublev_2004_review.shtml (355 words)

	Andrei Rublev (1969)
		Neither biography nor historiography, Andrei Rublev is a collection of loosely related episodes touching on crises of faith, brutality and chaos, and finally the response of the artist and believer.
		Black and white cinematography in both films suggests the starkness of the characters’ crises, but the fl and white of Andrei Rublev is finally transcended in a glorious climactic union of form, subject and theme beside which Bergman may be felt to be tragically colorblind.
		In one episode, Rublev is captured by pagan revelers carousing nude in the forest, and is tied cruciform in a hut and probed by an alluring, naked witch, who questions the distinctiveness of his Christian ideal and kisses him sensuously before setting him free.
	decentfilms.com /sections/reviews/1744 (706 words)

	RUSSIAN RESURECTION. Russian Film Festival 2006. (Site not responding. Last check: 2007-10-22)
		Andrei Rublev is internationally acclaimed as a cinema masterpiece.
		The film is a biography of sorts, telling the life of Andrei Rublev, a 15th-century monk regarded as Russia’s greatest icon writer.
		The film depicts a turbulent period of Russian history, which was marked by endless fighting between rival Princes and Tatar invasions.
	www.russianresurrection.com /film_andrei.htm (255 words)

	Andrei Rublev
		While the pacing of the film is deliberate and the presentation frequently abtruse, the stunning compositions, elaborate camera movements, compelling performances and beautiful fl-and-white cinematography – bursting into colour at the film's climax, a stunning montage of Rublev's icon paintings – provide ample reward, if you are willing to make the effort.
		Ultimately, Andrei Rublev comes across as a take-it-or-leave-it proposition, as if the director refused to make concessions on the grounds that to compromise his art was to cheapen and debase it.
		While an inconvenience, this is presumably necessitated by the film's three hour plus length and one would assume that, were it possible to fit the film on one disc this would have been at the expense of sound and image quality.
	www.kinocite.co.uk /0/33.php (505 words)

	DVD Times: Other DVD Reviews: Andrei Rublev
		The sheer scale of the film is seen right from the opening sequence, an anachronistic but compelling allegorical tale of an over-ambitious balloon flight - which before its passenger plunges to his death gives us an extraordinary God's eye view of medieval Russia.
		Absolutely nothing like Andrei Rublev had ever been seen before, and the Soviet authorities made sure that nothing like it would be seen again: it's a complete one-off.
		There's a printed essay on the film by Village Voice critic J.Hoberman, and the DVD has a critical commentary by Russian cinema expert Vlada Petric, which instead of spanning the whole film prefers to concentrate on twelve key sequences (which are indexed separately), and is none the worse for that.
	www.dvdtimes.co.uk /reviews/other/andreirublev.html (564 words)

	Andrei Rublev (Site not responding. Last check: 2007-10-22)
		OK, the film is slow and episodic but it totally immerses you in 15th Century Russia, almost every stunning shot is like a painting (probably by Bruegel) and the ending may well move you to tears.
		It is very hard to describe the effect that the film has at its conclusion, suffice to say that the overlying meaning of the film becomes evident, not in a twist revealing finale, but in a steady conclusion of all the slow burning themes within.
		Rublev, however, is a gobsmacking way of approaching the biopic, in a way never seen before, at once fresh and original, with no recourse to cinematic cliche.
	www.lovefilm.com /view_dvd.php?dt_id=1512 (493 words)

	Nudity in Andrei Rublev
		Andrei Rublev (alternately transliterated as Andrei Rublyov) is an epic film created by the Soviet-era director, Andrei Tarkovsky.
		The ostensible subject of the film is the life of Andrei Rublev, a 15th century monk who is renowned as Russia's greatest creator of religious icons and frescoes.
		Rublev the individual is a useful symbol for his country, since he lived in a time when he could personally witness two of the key elements in the development of Russia's unique culture: the growing force of Byzantine Christianity, and the Mongol-Tatar invasions.
	www.scoopy.com /andreirublev.htm (721 words)

	ANDREI RUBLEV
		ANDREI RUBLEV is so often cited as one of those great works of the cinematic canon that engaging it comes with an inevitable sense of onerous obligation, all the more so because it is a 3-1/2 hour movie about a 15
		As an apparent biopic (it is actually almost entirely fictional), the film is not a dry or languorous affair, some tiresome highlights of the man’s life, nor is it one of those Hollywood historical extravaganzas filled with theatrical performances and arch pageantry.
		With ANDREI RUBLEV, Tarkovsky demonstrates his astonishing grasp of filmmaking technique already apparent in his first full-length feature, IVAN’S CHILDHOOD, and it is truly remarkable that something as fully realized and ambitious as ANDRE RUBLEV is only Tarkovsky’s second feature.
	pages.prodigy.net /zvelf/andrei_rublev.htm (1262 words)

	Andrei Rublev - DVD Movie Central
		His final scene with Rublev is an emotional and memorable one, and one that ends the picture on a fantastic note of optimism, before the fl and white photography gives way to an explosion of color and a welcome look at some of Rublev's artwork.
		Andrei Rublev is a remarkable film that not only pushes the boundaries of its art form, it obliterates and redefines them.
		Andrei Rublev may not appeal to all tastes with its hefty running time and an allegorical structure replacing traditional narrative, but as groundbreaking and strangely beautiful as it is, it's one you don't want to dismiss until you've at least given it a chance.
	www.dvdmoviecentral.com /ReviewsText/andrei_rublev.htm (1087 words)

	The Criterion Collection: Andrei Rublev
		When Andrei Tarkovsky’s dark, startling Andrei Rublev first materialized on the international scene in the late 1960s, it was an apparent anomaly—a pre-Soviet theater of cruelty charged with resurgent Slavic mysticism.
		At once humble and cosmic, Tarkovsky called Rublev a “film of the earth.” Shot in widescreen and sharply defined fl and white, the movie is supremely tactile—the four elements appearing as mist, mud, guttering candles, and snow.
		The film was too negative, too harsh, too experimental, too frightening, too filled with nudity, and too politically complicated to be released—especially on the eve of the Revolution’s 50th anniversary.
	www.criterionco.com /asp/release.asp?id=34&eid=50§ion=essay (569 words)

	Amazon.com: Andrei Rublev - Criterion Collection: DVD: Andrei Tarkovsky,Anatoli Solonitsyn,Ivan Lapikov,Nikolai ... (Site not responding. Last check: 2007-10-22)
		Rublev was Russia's equivalent of Michelangelo, and some of the works attributed to him display a formidable beauty which is all the more remarkable because they were created during a rude and violent time.
		The film was enormously controversial in the USSR.
		The problems with the film were, among other things, that it was very violent and it had a lot of religious themes which were unheard of in the USSR (it was offically an atheistic state).
	www.amazon.com /Andrei-Rublev-Criterion-Collection-Tarkovsky/dp/6305257450 (3376 words)

	GreenCine \| product main - Andrei Rublev (Criterion Collection) (1966) (Site not responding. Last check: 2007-10-22)
		Widely recognized as a masterpiece, Andrei Tarkovsky's 205-minute medieval epic, based on the life of the Russian monk and icon painter, was not seen as the director intended it until its re-release over twenty years after its completion.
		The film was not screened publicly in its own country (and then only in an abridged form) until 1972, three years after winning the International Critics Prize at the Cannes Film Festival.
		Commissioned to paint the interior of the Vladimir cathedral, Andrei Rublev (Anatoli Solonitsyn) leaves the Andronnikov monastery with an entourage of monks and assistants, witnessing in his travels the degradations befalling his fellow Russians, including pillage, oppression from tyrants and Mongols, torture, rape, and plague.
	www.greencine.com /webCatalog?id=2988 (612 words)

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