|
|
|
|
|
|
Resources |
|
|
|
Andrei Tarkovsky: The Triumph of Faith
| Article
# : |
12912 |
|
|
Section : |
THE ARTS
|
| Issue
Date : |
5 / 1987 |
961 Words |
| Author
: |
Cynthia Grenier
Cynthia Grenier is contributing editor to the Arts section of
The World & I. |
The filmmaker whom Ingmar Bergman described as "the greatest, the one who invented a new language," Andrei Tarkovsky, died of cancer this past December in a Paris hospital. In a life of fifty-three years Tarkovsky had made only seven films in a career spanning a quarter-century. But those seven films stand as a mighty testimonial to the enduring power of belief in the Almighty in a land whose official credo is atheism.
The son of a renowned Soviet poet, Tarkovsky was just 30 when his first feature film, the lyrical Childhood of Ivan, won the coveted Golden Lion at the Venice Film Festival in 1962. Although the film nominally dealt with a subject - the horrors of World War II - much favored by the Soviet establishment, Tarkovsky by showing the war through the eyes of a twelve-year-old lent a touchingly human dimension to the subject.
The winning of a top prize at a major international film festival insured Tarkovsky a certain freedom and indulgence from Mosfilm, particularly since the coauthor of the scenario of his new project was Andrei Mikhalkov-Konchalovsky, a man whose family is, and continues to be, singularly well protected in Soviet society. The film, Andrei Roublev, the life of a fifteenth-century icon painter, completed in 1965, was, despite the Konchalovsky connection, shelved by Soviet authorities. The directors of the Cannes and Venice film festivals who knew of the film's existence kept requesting it for their festivals. The Soviet authorities stonewalled, claiming it was not finished.
Terrifying Panorama
Finally a showing was
... (1996 of 5489 Characters)
Read Full Article
|
|
