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Topic: Stalker (film)

	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.
		This results in a film that is thematically cyclical, reflecting the narrator's pattern of alienation and emotional isolation.
		Stalker is a visually serene, highly metaphoric, and deeply haunting treatise on the essence of the soul.
	www.filmref.com /directors/dirpages/tarkovsky.html (2561 words)

	kamera.co.uk - film review - Stalker directed by Andrei Tarkovsky - reviewed by Todd Harbour
		Stalker lives in a sparse hovel with his wife (Alissa Freindlikh) and young daughter Monkey, who is unable to walk, perhaps due to a birth defect from her father's regular exposure to the Zone.
		In the Stalker one of the explanations given for the Zone's origin was a breakdown at the fourth bunker.
		The film is quite prophetic, and the reason for the parallels with Chernobyl disaster, probably because Tarkovsky had Nuclear scientists friends, that told him of potential problems with nuclear reactors of that type.
	www.kamera.co.uk /reviews_extra/stalker.php (2019 words)

	Neil Young's Film Lounge
		Tarkovsky’s own favourite among his films is a bizarre hybrid of Eraserhead and The Wizard of Oz.
		The film is full of remarkable tracking shots, including long, spectacular sequence over a flooded floor, reeds drifting among the remnants of civilisation.
		Stalker’s daughter, Monkey, is genetically deformed - she has no legs - probably as a result of Zone radiation.
	www.jigsawlounge.co.uk /film/stalker.html (370 words)

	Archive - Grotto - Reviews
		The Stalker guides his hand-picked customers into The Zone to reach The Room, a place where wishes are supposedly granted to anyone capable of threading one's way through the dangers of the treacherous landscape haunted by a spectre that is never quite realized except in words and traces.
		Tarkovsky's films are 'long' because of the long, slow tracking shots he indulges, as reflex, and because silence needs to be maximized to enhance the otherwise normative elements of dialogue and denouement.
		That the film ends with a bizarre soliloquy by the Stalker's wife, that her husband is slightly deranged, undercuts the notional (literal) nature of the quest and also brings to light the perhaps troubling (alternative) idea that he is quite simply a visionary madman.
	www.geocities.com /ateliermp/stalker.html (1222 words)

	reverse shot : online : spring 2004
		Stalker compounds matters in that the journey undertaken by its characters is explicitly spiritual, but what they seek and what they find is always contradicted, ambiguous, unwieldy.
		While his previous sci-fi film, Solaris, required him to acknowledge the otherworldliness of the story and its setting (which the filmmaker felt was a distraction), Stalker is grounded, literally and deliberately, in earthly soil.
		For example, a close-up of the Stalker’s hand pans to the neighboring pool of shallow water in which a small metal object, half-embedded in the soil, catches light and glimmers for a moment.
	www.reverseshot.com /spring04/stalker.html (1605 words)

	[No title]
		STALKER is a Soviet film (it is Tarkovsky's sixth and, in my opinion, his best) but "to stalk" is an English verb (and a regular one at that).
		As with all films that trigger a rush of interpretation in the viewer, STALKER is a film which is striking for the physical presence of its elements, their stubborn existence and way of being there, even if there was no one to see them, to get close to them or to film them.
		STALKER is a metaphysical fable, a course in courage, a lesson in faith, a reflexion on the end of time, a quest, whatever one wants.
	home.earthlink.net /~steevee/Daney_stalker.html (1227 words)

	MovieMartyr.com - Stalker
		The film’s final fifteen minutes take the ambiguous and dense metaphor that Tarkovsky had created and, presumably under the pretense of making the film’s concepts easier to grasp, turns the uncertain into the mind-numbingly literal.
		The final minutes of the film seem to be the most overtly sci-fi of the film, so for them to be the least successful is irksome.
		The film’s use of sound is sophisticated and its cinematography is stunningly good, representing both some of the best color and fl and white lensing ever done.
	www.moviemartyr.com /1979/stalker.htm (497 words)

	LM_Andrei Rublev, The Stalker & Social Realism P.2 by Bircan UNVER
		The film was banned in the Soviet Union on the grounds that it gave an inaccurate (that is, negative) account of medieval Russian history, although an edited version won the International Critics' Award at Cannes in 1969, and Rublev was ultimately given limited domestic release in a version further re-edited and cut by forty minutes.
		The film has three dominant characters and its protagonist Alexander Kaldanovsky as the Stalker, Anotoly Solonitsyn as a writer, Nikolai Grinko as a professor, and Alisa Freindlich is the Stalker's wife.
		Before the film Stalker, the 'Zone's meaning was a kind of a prisoner camp according to Russian Culture.
	www.lightmillennium.org /fall/bu_stalker2a.html (2365 words)

	evil
		However, later in the film, just prior to Laurie's discovery of the blood-fest (and as she crosses the street to the house of death), she is also associated with this view point - and its accompanying associations with control of the gaze and narrative action.
		The second is a point of view more traditionally associated with the stalker film; for example, the tracking shot that follows her gaze as she glances down the second floor staircase.
		Film examples are mapped out through ahistorical approaches where the methodology consists of "mapping the surface elements of different discrete texts onto an underlying meta-narrative which is then presented as the real meaning of the various symbolic and iconographic devices" (McQuire 1987, 24).
	www.refractory.unimelb.edu.au /angela/evil.html (8734 words)

	Filmstalker
		From /Film we hear that his next documentary may indeed be about the anti-gay Christian right movement.
		I really enjoyed this film, one which was much more science fiction than some of the in your face horror that we'd seen at Dead by Dawn this year, here the horror was much more psychological.
		The film shows us a small group of people living underground or in some complex, and the rest of the story is opened up in slow reveals.
	www.filmstalker.co.uk (2512 words)

	Andrei Tarkovsky
		After much gruelling soul-searching, none of the three dare enter the 'room' and the 'stalker' returns to his distraught wife and his daughter, born crippled probably due to her father's constant exposure to the atmosphere of the 'zone'.
		The most richly textured, almost tactile film by a director without equal in bringing objects and surfaces to life, it is no exaggeration to say that the ever-present moisture of the spa at times seems to seep through the screen.
		The film's conclusion, an extremely long take of a dying Yankovsky trying to cross a pool carrying a lighted candle in response to a request by Josephson, could be the most wrenchingly moving scene Tarkovsky ever shot.
	www.sensesofcinema.com /contents/directors/02/tarkovsky.html (2575 words)

	Stalker - DVDs & VHS - MovieMail UK
		Haunting and possessed of a desolate beauty, the film poses the seductive question of whether the dreaming of dreams or the attaining of them is better.
		In reality, a film of two halves; the first building the very tangible tension experienced by the central characters with a magnificent use of sound, (mono)colour and lush, despoiled city and country scapes.
		The son of a celebrated poet quoted in his films, Andrei Tarkovsky was born in 1932, in the Volga countryside not far from Moscow.
	www.moviemail-online.co.uk /films/7313 (561 words)

	Stalker (film) - Wikipedia, the free encyclopedia
		The central part of the film was shot in a few days at a deserted hydro power plant on the Jägala river near Tallinn, Estonia.
		The film was shot on imported Kodak stock, and Soviet laboratories were not familiar with it.
		Many attribute the long and arduous shooting schedule of the film, and the physical conditions of the terrain where it was made.
	en.wikipedia.org /wiki/Stalker_(movie) (985 words)

	[No title]
		After a strange meteorite hits the earth, the region where it's fallen is sealed off; known as the Zone, it is believed to have magical powers that can grant the secret wishes of those who enter it, but it can be penetrated only illegally and with special guides.
		One such guide (Aleksandr Kaidanovsky), the stalker of the title, leads a writer and a professor (Nikolai Grinko and Anatoli Solonitsin) through the grimiest industrial wasteland you've ever seen to reach the epiphany.
		But Tarkovsky, who regards their journey as a contemporary spiritual quest, does such remarkable things with his mise en scene--particularly very slow and elaborately choreographed camera movements--that you may be mesmerized nonetheless.
	onfilm.chicagoreader.com /movies/capsules/11441_STALKER (170 words)

	Stalker DVD at Video Universe
		Stalker, a man able to lead others to this holy grail, escorts a writer and a scientist through this foreboding territory and confronts several unexpected challenges along the way.
		After shooting all of the exterior shots for the film, Tarkovsky and his crew discovered that there was a serious defect in the film stock they were using, and thus everything had to be reshot.
		STALKER was Tarkovsky's first film for which no significant cuts were requested by the Soviet authorities.
	www.cduniverse.com /search/xx/movie/pid/4992375/a/Stalker.htm (800 words)

	Amazon.co.uk: Stalker [1979]: DVD: Aleksandr Kajdanovsky,Alisa Frejndlikh,Andrei Tarkovsky,Anatoli Solonitsyn,Nikolai ... (Site not responding. Last check: 2007-10-14)
		The film is described as being a work of science-fiction and in a manner of speaking it is, but in a very unconventional way.
		In this film, we see the interplay between the poetic and the philosophical, with the conflict between the writer and the scientist germane to the plot, mirrored in the external conflict between the elements of the script (science versus religion, etc).
		I suspect the inspiration for this film's backdrop is the very real "Tunguska" event of 1908 where a whole section of the Siberian forest was obliterated, possibly by a meteor; an event which has spawned a plethora of otherworldly theories ever since.
	www.amazon.co.uk /Stalker-Aleksandr-Kajdanovsky/dp/B000065BZ8 (2293 words)

	The DVD Journal \| Reviews : Stalker
		Tarkovsky and the Moscow film bureaucrats had a love-hate relationship with each other, and the battles Tarkovsky fought (release of one of his films was delayed for six years) perhaps shortened his life (he died in 1986).
		In interviews and in his writings Tarkovsky was always saying that his big theme was love, but he always spoke of love in vague, cult-figure terms, and the coldness of his films often belied his real subject, which is human begins grappling with the past and the present within an oppressive culture.
		The stalker is just trying to make a living, yet for all his hardships in private life and for all his in depth knowledge of the area, he has never used The Zone to advance his own station in life.
	www.dvdjournal.com /reviews/s/stalker.shtml (1229 words)

	Film Forensics » Blog Archive » Secret Window
		I’m not sure how obvious it would have been had I not seen the trailer for the film, but the trailer virtually gives the whole thing away – it certainly throws up the question of whether Shooter is imaginary or not, and that is all that is necessary to make the twist obvious.
		The tone of the story is wrong for a stalker movie: Shooter is too crazy, too quickly, and we are given ample hints that not all is right with our Author’s mind, right from the prologue.
		There’s an implication that the author is at least sometimes a horror writer, simply because Stephen King, the author of the short story on which the film is based, is primarily a horror writer.
	www.filmforensics.com /autopsy/2004/12/27/secret-window (1077 words)

	Stalker Film Review - Time Out Film
		The Stalker leads two men, the Writer and the Professor, across the Zone - a forbidden territory deep inside a police state - towards the Room, which can lay bare the devices and desires of your heart.
		The ragged, shaven-headed men are familiar from Solzenitzyn, and the zone may be a sentient landscape of hallucinatory power, but its deadly litter of industrial detritus is all too recognisable.
		The wettest, grimmest trek ever seen on film leads to nihilistic impasse - huddled in dirt, the discovery of faith seems impossible; and without faith, life outside the Zone, impossible.
	www.timeout.com /film/75240.html (212 words)

	stalker - film review for zone-sf.com
		The Strugatskis wrote the screenplay for Stalker, which is some distance from the novel: Tarkovsky went as far as to write a letter of apology to the Strugatskis for removing most of the overtly science fictional elements from their screenplay.
		In fact the film had to be reshot, after a laboratory error made the original footage unusable; the second version was much changed from the lost first one, and is considerably different from the screenplay that the Strugatskis wrote.
		The film is split over two discs (63 and 92 minutes), breaking at the original intermission point and is presented in its original Academy ratio (4:3).
	www.zone-sf.com /stalker.html (700 words)

	Slant Magazine - Film Review: Stalker
		The story of three strangers' quest into The Zone to reach The Room, an enigmatic enclave that allegedly grants visitors their deepest, darkest wish, 1979's Stalker, which is loosely based on the novel The Roadside Picnic, may not be the most signifier-loaded film in the auteur's canon.
		The result is a film that feels like a Soviet hybrid of Dostoyevsky and Waiting for Godot, its plot a coat hanger on which the director hangs oblique, open-ended philosophical, psychological, and existential ruminations about the nature of art and the essence of the human soul.
		As tempting as it is to try to definitively interpret the film's myriad symbols, such an analysis ultimately seems both pointless (since their intriguing appeal is directly proportional to their inscrutability) and, given the director's refusal to posit any easily comprehendible explanations, somewhat futile.
	www.slantmagazine.com /film/film_review.asp?ID=395 (730 words)

	eBay - VHS: Stalker (Site not responding. Last check: 2007-10-14)
		The film's fl-and-white sections are variously tinted in color and sepia tones. The sequences in the Zone are filmed in color.
		Stalker is a Russian tale by one of the greatest directors that ever lived.
		Stalker is perhaps Andrei Tarkovsky's most accessible film as well as his most powerful.
	product.ebay.com /Stalker_W0QQfvcsZ1178QQsoprZ3203449 (1194 words)

	Amazon.com: Stalker: A Film by Andrei Tarkovsky: DVD: Aleksandr Kajdanovsky,Alisa Frejndlikh,Anatoli Solonitsyn,Nikolai ... (Site not responding. Last check: 2007-10-14)
		Tarkovsky films their journey as a long odyssey, or religious pilgrimage, and center of The Zone--said to be under an alien influence--is where each of these men hopes to find a kind of personal transcendence.
		And while the film's glacial pacing may be off-putting to some viewers, there's no denying that Stalker has a mesmerizing power of its own, including a thought-provoking and highly debatable ending that propels the film to a higher level of meaning and significance.
		A stalker (not the current definition), a writer, and a professor venture into the zone, where there is a room that will grant you your most inner wishes.
	www.amazon.com /Stalker-Andrei-Tarkovsky-Aleksandr-Kajdanovsky/dp/B000I8OOG0 (1986 words)

	Night Stalker \| PopMatters Television Review
		But Spotnitz promised to be as faithful as possible to the source material, and the creator of his previous gig, Chris Carter, swore that the Darren McGavin vehicle was the inspiration for all the "truth is out there" terrors.
		The original Night Stalker never once hinted that its horrors were not be the work of otherworldly forces, explicitly showing a headless motorcycle rider, a Native American spirit, and a Godzilla-like lizard man in Chicago's underground, for better or worse.
		There is also an obvious attempt to create a collective reason to tie all of Kolchak's suspicions together (hello, new mythology), meaning we might not see the "monster of the week" mandate that made the original show such a treat.
	www.popmatters.com /tv/reviews/n/night-stalker-051006.shtml (888 words)

	Stalker (1979) (Site not responding. Last check: 2007-10-14)
		Towards the end of the movie, the Stalker's wife smokes cigarettes from a carton that bears the same AT (Andrei Tarkovsky) insignia as the policeman's helmet.
		Stalker (1979)*½; Stalker** is rich, spiritual and contemplative journey through the fantastic inner world of human's hope, desire, disillusions and believes.
		Nevertheless, Stalker is an outstanding piece of art movie that puts its director among the few true cinema masters.
	www.imdb.com /title/tt0079944 (364 words)

	Stalker - Film - Non-Gaming - ALL - Discussion Forum /// Eurogamer
		Stalker has a very interesting form and blends the psychological landscape of that era with the mythological aspects of a nuclear disaster, if that's how you want to look at it.
		Stalker is then about how the three archetypes react.
		Of course it's mostly a psychological study, there is no straight way to find the room, how long the trip is depends on the person -- but that could all be just how the stalker character believes it to be.
	www.eurogamer.net /forum_thread_posts.php?thread_id=37229 (564 words)

	Filme Blog
		Ansehnlich ist der Film lediglich bei den Szenen auf dem Eis.
		Fazit: Mitten ins Herz ist ein romantischer Film ohne große Höhepunkte.
		Der Film lebt nicht nur von der bedrückenden Atmosphäre, sondern auch von den exzellenten Darstellern.
	filmeblog.de (4615 words)

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