Andrei imagines a conversation with the dead Theophanes the Greek, lamenting the loss of his work and the cruelty of mankind, while Durochka distractedly plaits the hair of a dead woman. Note: In the 205-minute version known as The Passion According to Andrei, this episode is titled The Charity Andrei is once again at the Andronikov Monastery as famine and war grip the country. [3] A version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize. The men are initially dismissive, but soon agree, and Boriska is put in charge of the project. It is first referenced in Solaris, made in 1972, by having an icon by Andrei Rublev being placed in the main character's room. Unaware of what has happened to the jester, Daniil thanks the villagers for the shelter. At first I got the impression they were attempting to pressure my creative individuality. This transfer has less contrast and looks softer and muddier. After the crash, a horse is seen rolling on its back by a pond, a symbol of life, and one of many horses in the film. Kirill wants to leave, so Andrei wakes up a resting Daniil. For example, during the Tatar raid of Vladimir a cow is set on fire. In 2010, Andrei Rublev tied for second in a U.K. newspaper series of the "Greatest Films of All Time" as voted by critics from The Guardian and The Observer. Kirill lacks talent as a painter, yet still strives to achieve prominence. Andrei, who has arrived on the scene, silently watches Boriska during the casting, and the younger man notices him too. It was financed and created during a brief cultural thaw in East-West relations, marked by the end of Kruschchev's reign. The film is loosely based on the life of Andrei Rublev, a 15 At the critical moment the bell rings perfectly, and she smiles. ", "Mark Rance on Andrei Rublov: The Criterion Edition", "Strasti po Andreiu (Interview with Andrei Tarkovsky on February 1, 1967, transl. The official answer was that the film was not yet completed and could not be shown at the film festival. In 1969, the film was screened at the Cannes Film Festival. According to Tarkovsky's sister, Marina Tarkovskaya, one of the editors of the film, Lyudmila Feiginova, secretly kept a print of the 205-minute cut under her bed. I am convinced the latest version is the best, the most successful. And this may even repel them." 1966, Russia, DCP, in Russian with English subtitles, 183 minutes. Andrei is once again at the Andronikov Monastery as famine and war grip the country. "[21], Several scenes within the film depict violence, torture and cruelty toward animals, which sparked controversy at the time of release. The ministry's demands for cuts first resulted in a 190-minute version. To Tarkovsky, Solonitsyn provided the right physical appearance and the talent of showing complex psychological processes. Andrei decides to give up painting and takes a vow of silence to atone for his killing of another man. Foma, impatient and wanting to work, resigns and leaves Andrei's group to take up the offer of painting a smaller, less prestigious church. As they walk on, the heavy rain starts again. Another difference from the original version of the film was the inclusion of a short explanatory note at the beginning of the film, detailing the life of Andrei Rublev and the historical background. According to Tarkovsky, the original idea for a film about the life of Andrei Rublev was due to the film actor Vasily Livanov. [10], The first cut of the film was known as Andrei Passion (Russian: Страсти по Андрею, Strasti po Andryeyu, "The Passion according to Andrei"), though this title was not used for the released version of the film. [15] In 2016, a Blu-ray version of the film was released in the United Kingdom using the 186-minute version preferred by Tarkovsky. The film was shot on location, on the Nerl River and the historical places of Vladimir/Suzdal, Pskov, Izborsk and Pechory. The epilogue showing details of Andrei Rublev's icons was in black and white as the Soviet Union had not yet fully transitioned to color TV. The shorter version comes from a high-definition restoration scanned from 35mm internegative. Stone carvers and decorators of Andrei's party have also been working on the Grand Prince's mansion. The film was further cut for commercial reasons upon its U.S. release through Columbia Pictures in 1973. The official answer was that the film was not yet completed and could not be shown at the film festival. All my friends and colleagues who during long discussions were advising me to make those cuts turned out right in the end. A pan across the assembly reveals the white-robed Durochka, leading a horse and preceded by a child which is, presumably, hers, as she walks through the crowd. In the forest, Andrei and Theophanes argue about religion, while Foma cleans his master's paint brushes. In a 1967 interview for Literaturnoe obozrenie, interviewer Aleksandr Lipkov suggested to Tarkovsky that "the cruelty in the film is shown precisely to shock and stun the viewers. The epilogue is the only part of the film in color and shows time-aged, but still vibrant, details of several of Andrei Rublev's actual icons. [32] It is next referenced by having a poster of the film being hung on a wall in Mirror, made in 1975.[33]. Kirill refuses at first, but then accepts the offer on the condition that Theophanes will personally come to the Andronikov Monastery and invite Kirill to work with him in front of all the fraternity and Andrei Rublev, who is renowned for his icon painting in the outside world, an admiration shared by Kirill and Theophanes. The men are initially dismissive, but soon agree, and Boriska is put in charge of the project. Kirill refuses at first, but then accepts the offer on the condition that Theophanes will personally come to the Andronikov Monastery and invite Kirill to work with him in front of all the fraternity and Andrei Rublev, who is renowned for his icon painting in the outside world, an admiration shared by Kirill and Theophanes. As he leaves, the apprentice finds a dead swan; after poking it with a stick, he admires its wing and fantasizes about having a bird's-eye view. In 1961, while working on his first feature film Ivan's Childhood, Tarkovsky made a proposal to Mosfilm for a film on the life of Russia's greatest icon painter, Andrei Rublev. The film's themes include artistic freedom, religion, political ambiguity, autodidacticism, and the making of art under a repressive regime. At this time Solonitsyn was an unknown actor at a theater in Sverdlovsk. He comforts Boriska, breaking his vow of silence and telling the boy that they should carry on their work together: “You’ll cast bells. At the site, Boriska contradicts and challenges the instincts of the workers in choosing the location of the pit, the selection of the proper clay, the building of the mold, the firing of the furnaces and finally the hoisting of the bell. [20], Andrei Rublev was invited to the Cannes Film Festival in 1967 as part of a planned retrospective of Soviet film on occasion of the 50th anniversary of the October Revolution. As the bell is prepared to be rung, some Italian ambassadors in the royal entourage express their doubt over the prospective success of its ringing. As the rain has stopped, Kirill returns. Directed by Andrei Tarkovsky. The first cut was completed in July 1966. Top comments. For the role of Andrei Rublev he required "a face with great expressive power in which one could see a demoniacal single-mindedness". The process of making the bell grows into a huge, expensive endeavour with many hundreds of workers and Boriska makes several risky decisions, guided only by his instincts; soon, even he doubts the project's prospective success. Andrei leaves for Moscow with his young apprentice Foma (Mikhail Kononov). A short while later at the Andronikov Monastery, a messenger arrives from Moscow to ask for assistance in decorating the cathedral, as arranged, but instead of Kirill, he propositions Andrei. Theophanes is portrayed as a complex character: an established artist, humanistic and God-fearing in his views yet somewhat cynical, regarding his art more as a craft and a chore in his disillusion with other people. Although they have been there for two months the walls are still white and bare. It is 205 minutes long (in its fullest version), in Russian, and in black and white. Within reason, the 205 minute director's cut represents exactly what Tarkovsky wanted in the movie. (It is also overheard that the Grand Prince has already had his brother, the one who raided Vladimir, beheaded.). As a result, several versions of the film exist. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions. While Foma has talent as an artist, he is less interested in the deeper meaning of his work and more concerned with the practical aspects of the job, like perfecting his azure, a color which at the time was often considered unstable to mix. Andrei Rublev is set against the background of 15th-century Russia. His wish is granted after much pleading and initial rejection, but he is instructed to copy out the holy scriptures 15 times in penance. They encounter Theophanes in the forest, and the old master sends Foma away, unimpressed by his attitude to art. Robert Bird in his analysis of the comparison of the first cut of the film to the final Tarkovsky cut of the edited film summarized the editing process stating: "The most conspicuous cuts were the most graphic shots of the stonemasons' gouged-out eyes, the burning cow, and the horse being lanced (although its horrific fall remained). The Criterion Collection. One statement that can not be disputed, however, is that 'Andrei Rublev' really is a beautiful piece of film-making. As a result of the budget restrictions several scenes from the script were cut, including an opening scene showing the Battle of Kulikovo. While walking in the woods, Andrei and Foma have a conversation about Foma's flaws, and in particular lying. According to Tarkovsky everybody had a different image of the historical figure of Andrei Rublev, thus casting an unknown actor who would not remind viewers of other roles was his favoured approach. "[18], The color sequence of Rublev's icons begins with showing only selected details, climaxing in Rublev's most famous icon, The Trinity. The invasion of the combined armed forces, their men on horseback, results in great carnage: the city is burned, the citizens murdered and women raped and killed. Going to investigate, he comes upon a large group of naked pagans who are conducting a lit-torch ritual for Kupala Night. At the very moment of his attempt, an ignorant mob arrive from the river and attempt to thwart the flight, putting a firebrand into the face of one of the men on the ground assisting Yefim. Goskino demanded cuts to the film, citing its length, negativity, violence, and nudity. The cuts have in no way changed neither the subject matter nor what was for us important in the film. TIME (magazine) compared the movie unfavorably to Dr. Zhivago; those other New York reviewers who took note begged off explication, citing Rublev's apparent truncation. All in all, I have counted thirty-six shots which were completely deleted in the 185-minute version of Andrei Rublev, and about eighty-five which were considerably abbreviated, including nine very long takes which are split each into two or more parts. Andrei, who is also in the church, saves Durochka from being raped by killing a Russian soldier with an axe. During a heavy rain shower they seek shelter in a barn, where a group of villagers is being entertained by a jester (Rolan Bykov). Savva Yamshchikov, a famous Russian restorer and art historian, was a scientific consultant of the film. Despite the cuts having originated with Goskino's demands, Tarkovsky ultimately endorsed the 186-minute cut of the film over the original 205-minute version: Nobody has ever cut anything from Andrei Rublev. Audience reaction was enthusiastic, despite some criticism of the film's naturalistic depiction of violence. The image is soft and smudgy with little definition. In the first version the film was 3 hours 20 minutes long. [1][19] After Tarkovsky completed this first version, it would be five years before the film was widely released in the Soviet Union. While the Grand Prince is away in Lithuania, his power-hungry younger brother forms an allegiance with a group of tatars and raids Vladimir. Friday, December 15, 2017 at 6:00 PM – 9:00 PM EST. During the bell-making, the skomorokh (jester) from the first sequence makes a reappearance amongst the crowds who have come to watch the bell being raised up and, seeing Andrei, he threatens to kill him, mistaking him for Kirill, his denouncer of years past. [4] In 1971, a censored version of the film was released in the Soviet Union. Andrei Rublev Criterion Collection Blu-ray: Criterion's two-disc edition includes both Tarkovsky's preferred 183-minute version of the film and The Passion According to Andrei, the original 205-minute theatrical version.. 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