Andrei Tarkovsky - Nostalghia AKA Nostalgia (1983)

How could I have imagined as I was making Nostalghia that the stifling sense of longing that fills the screen space of that film was to become my lot for the rest of my life; that from now until the end of my days I would bear the painful malady within myself?
- Andrei Tarkovsky: Sculpting in Time

SYNOPSIS

Director Andrei Tarkovsky recasts his lifelong cinematic motif of humanity's quest for faith in the waterlogged and mist-ensconced countryside of Italy for his philosophical masterpiece Nostalghia. Andrei Gorchakov (Oleg Yankovsky) is a misanthropic Russian scholar researching the life of an exiled Russian composer who committed suicide. With the help of his beautiful guide, Eugenia (Domiziana Giordano), Andrei visits mystical and religious sites on the trail of the late composer's legacy.

In the shadow of the doomed composer’s memory, Andrei finds himself crippled by a melancholy nostalgia for his Russian homeland, only to discover redemption in the form of a madman, Domenico (Erland Josephson), whom he encounters at St. Catherine’s pool, a religious site in Sienna. Domenico, a former professor who once locked his family away for seven years in anticipation of Armageddon, now leads a seemingly insane existence, believing that if he can travel across the pool with a lighted candle, he can save all of humanity.

As in his mystical film The Mirror, Tarkovsky weaves a dense, mediatative pattern of images - freely mixing past and present, dream and reality, color and black and white, landscape and architecture - with the scholar and the madman acting as allegorical players in a metaphysical trial by fire and water.



















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1.46Gb
no pass

Andrei Tarkovsky - Andrey Rublyov AKA Andrei Rublev (1969) DVD

Presented as a tableaux of seven sections in black and white, with a final montage of Rublev's painted icons in color, the film takes an unflinching gaze at medieval Russia during the first quarter of the 15th century, a period of Mongol-Tartar invasion and growing Christian influence.

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. Faced with the brutalities of the world outside the religious enclave, Rublev's faith is shaken, prompting him to question the uses or even possibility of art in a degraded world. After Mongols sack the city of Vladimir, burning the very cathedral that he has been commissioned to paint, Rublev takes a vow of silence and withdraws completely, removing himself to the hermetic confines of the monastery.

Rising quickly out of this mire, the film's final section (a short story in its own right) concerns a boy named Boriska (Nikolai Burlyayev) who convinces a group of travelling bell-makers that his father passed on to him the secret of bell-making. The men take Boriska along, mostly because they pity and are amused by him, but they are quickly enthralled by the boy's ambition, determination, and confidence that he alone knows how to build the perfect bell. Boriska is soon commanding an army of assistants and peasant workers, and, indeed, his fierce temperament and refusal to accept anything but the best possible work and materials from the men fools the viewer - possibly Boriska himself is fooled - into thinking that he does in fact possess the secret, and that on the appointed day when the silver bell is lifted from the ground and its mallet set in place, it will ring.

Amid this maelstrom of activity and confusion, Rublev appears; at first standoffish and mistrustful of the boy, he finds himself drawn to Boriska's courage and unselfconscious desire to create. Moved to put aside his vow of silence, Rublev serves finally as the boy's confessor, and he finds that, through Boriska, his faith, and art, have been renewed.





DVD | 4112.9 MB | Runtime 3:26:05 | b/w | Language: Russian | Optional subtitles : English

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pass:www.AvaxHome.ru

Andrei Tarkovsky - Ivanovo detstvo AKA Ivan's Childhood (1962)

Plot Synopsis
This debut feature-length wartime drama by noted Russian director Andrei Tarkovsky was a remarkable introduction to a remarkable career. The poetic touch of Tarkovsky's hand and his measured pace is already evident as the tale of the young, twelve-year-old Ivan (Nikolai Burlyayev) evolves. Ivan is orphaned after his village is wiped out by an invading Nazi army and as a consequence, he ends up in a prison camp. The inventive lad escapes and is adopted by Captain Kholin (Valentin Zubkov), whose intention is to send the boy away to school. But Ivan is determined to help the Russian army and so he starts spying on the German forces. Because of his tender years he manages to pass freely back and forth behind enemy lines -- at least for awhile. This exemplary film won the top prize, the Golden Lion award at the 1962 Venice Film Festival and also won the Grand Prize at the 1962 San Francisco Film Festival. - Eleanor Mannikka, All Movie Guide








Single Link
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no pass

Andrei Tarkovsky - Stalker [+Extras] (1979)

SYNOPSIS
With Stalker, Russian director Andrei Tarkovsky returns to the mind-bending, philosophy-tinged science fiction of Solaris. The setting is an unnamed country in an unforeseen postapocalyptic future. A meteorite has landed, and its impact has created a mysterious phenomenon known as the Zone, within which resides a sinister room said to grant humanity’s deepest desires. Only Stalkers are able to enter the Zone, bringing intrepid citizens to test their strength and desires against the Zone’s enigmatic treacheries. The film follows one such Stalker (Alexander Kaidanovsky) as he attempts to bring two characters known as Writer (Anatoli Solonitsyn) and Scientist (Nikolai Grinko) into the Zone. The hapless trio makes a difficult and mud-drenched journey, dodging military guards and invisible traps and enduring extreme psychological strain. While Tarkovsky avoids any direct political reading of Stalker, the film’s allegorical structure presents a powerful and disturbing metaphor for humanity’s loss of and subsequent quest for faith. The Stalker’s struggle to rescue himself and his family while guiding those more wretched than himself creates a physical and metaphysical drama that leaves the viewer breathless. Blending visual, narrative, and cinematic conventions to portray the fractured logic of the Zone, Tarkovsky conjures a universe of despair and desire in which science, rationalism, and technology must face off against love, humanism, and faith. (Rotten Tomatoes)
LINKAGE
link (Kamera.co.uk review)
link (Senses of CInema on Tarkovsky)
link (Rotten Tomatoes page)








(Alexander Knyazhinsky interview)

(Eduard Artemyev interview)

(Rashit Safiullin interview)

(Memory)

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Extras
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Turkish&English subs included
no pass

Marlen Khutsiyev - Mne dvadtsat let (Мне двадцать лет) AKA I am Twenty (1964)

Communism, youth and adulthood in 1960s Russia

Review:
Half Godard, half serious but worthy drama, with an unexpected bit of propaganda thrown in for good measure, Khutsiev's 3-hour epic is an
interesting, serious and even fun look at Moscow circa 1964. Some of it is idealized and lying: the clean communal apartments without alcoholics, the bright streets unlittered. Some of it is truthful and
feels true, even if Russians of that generation hadn't confirmed its truthfulness post-screening. Its all blended together so well, though, that truth and falsehood make a single fascinating film.

Sergei (Valentin Popov) returns to Moscow post-army experience, and hooks up with his old friends, holding down an undemanding post at the
power plant while growing increasingly sick of his meaningless and repetitive life. He and his pals eventually split up in different directions, and then the film does an ideological 180, extolling the glory of the Soviet state, and before you know it the final shot, of Lenin's tomb no less, has arrived.

The first half (and the film has a labeled second half, so you can
tell where the very definite boundaries begin) is clearly under the influence of the French New Wave. As Sergei and pals clown around Moscow, the light abandon of the film has many charming, whimsical moments. The highlight is the May Day parade, a bright and seemingly spontaneous display of happiness. Forgetting about the grandeur of the Soviet state, Khutsiev shows Moscow in clear, uncluttered and un show-offy shots. The feel is refreshingly un-propagandistic. The second half is serious and deals with somewhat cliched material; however, acted flawlessly, it comes through with effect and Khutsiev doesn't lose the viewer with his tonal shift. The ending propaganda is so unexpected and quick it can be forgiven.

I Am Twenty is clearly a film of its time, and it records its time and place in ways that the best time capsules do: with sympathy, perception and an acute eye and ear (it's especially interesting to note how, as with so many international films from the early 60s, jazz recordings are everywhere). Particularly lovely are the tracking shots taken from afar. Never leaving the city, Khutsiev shows a time and a place, as well as an acute if not thoroughly original character study. It's art, and naturally was cracked down on (unfortunately for Khutsiev, war on formalism had just been declared): cut in half and with key sequences exorcised, it was finally restored in 1989. Our gain; truly an unknown classic.














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953MB
http://www.filesonic.com/file/30284937/I am Twenty [Drama] [1964].part2.rar
432MB
included: Russian/English in subpack
no pass

http://www.fileserve.com/file/pJz2TEm
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links are interchangeable
included: Russian/English in subpack
no pass