Andrei Rublev (film)
| Movie | |
|---|---|
| German title | Andrei Rublev |
| Original title | Андрей Рублёв |
| Country of production | USSR |
| original language | Russian |
| Publishing year | 1966 |
| length | 185 minutes |
| Rod | |
| Director | Andrei Tarkovsky |
| script |
Andrei Konchalovsky Andrei Tarkovsky |
| production | Tamara Ogorodnikova |
| music | Vyacheslav Ovchinnikov |
| camera | Vadim Yusov |
| cut |
Lyudmila Feiginova Olga Shevkunenko Tatiana Yegorycheva |
| occupation | |
| |
Andrej Rublev is a film by Andrei Tarkowski from 1966. It is loosely based on the life story of the Russian icon painter Andrei Rublev , who lived from around 1360 to 1430.
Against the backdrop of the Russian Middle Ages, Andrei Tarkowski creates a powerful composition that shows the incursions of the Tatars , as well as religious sectarianism and the oppression of it by the authorities. It's about the essence of art and the meaning of faith. It shows an artist struggling to find appropriate answers to the tragedies of his time.
Plot (scenic)
The film begins with scenes showing preparations for a balloon flight. Finally, a man gets into the gondola and floats away with the balloon. The man is extremely delighted by the sights that are presented to him, but cannot prevent the journey from crashing into a landing.
Danila, Andrej and Kirill are on the move. They have left the Andronikov Monastery, where they had lived as monks for many years, behind them. You are looking for work. They get caught in heavy rain and seek refuge with a company that is gathered in a house by a juggler. Some time later, the juggler is picked up by strangers who treat him roughly.
Kirill visits Theophanes, the Greek . Theophanes, an important icon painter of his time, was commissioned to paint the Annunciation Cathedral in Moscow . He makes Kirill an offer to assist him with the work. Later, however, he sends a mounted messenger to Andrei to make the same offer. Kirill realizes that he will not work for Theophan. He was seized with great envy, and in anger he left the religious community in which he had been.
During a nocturnal walk, Andrej comes across a gathering of pagans who are celebrating a festival marked by sensual pleasure. Andrej is obviously fascinated by the rituals he witnesses. However, he is picked up and tied to a cross. He is freed by a woman who has come to him wearing only an open coat.
Some scenes take place in church rooms. For months the work that Andrej took over there was not progressing. He has come to the conclusion that he has lost the lightness of mind that an artist needs as a prerequisite for his work.
It is shown in great detail how Tatars invade a city and rob, plunder and murder. Andrej only knows how to prevent an emerging rape by killing the perpetrator. About this act he becomes even more doubtful than before. He decides to give up the profession of painter. He also takes a vow of silence.
The turning point in Andrei's life comes when he witnesses a bell being cast. The work is being led by a youthful bell caster who has untruthfully claimed that he knows the traditional recipe for the correct composition of the metal. When the work was finally successful, he fell into a sob with relief. Just as he is relieved, Andrej breaks his silence and decides to start working on his artwork again.
The film ends with scenes in which the camera works by the icon painter Rublev sweeps. While the film had only shown black and white images until then, the representation changes to color in these last scenes.
interpretation
The film shows Rublev as someone who does not find it easy to maintain faith in his own artistic mission under the given difficult external conditions. Since the film was made during the times of Soviet rule, it is reasonable to assume that Tarkovsky wanted to report in an encrypted way from the life of the artists of his own time.
With the bell foundry scenes towards the end of the film, Tarkowski sends out a sign of hope. It shows that there can be young people who are passionate about their work and who ensure that valuable old traditions are preserved. This reflects Tarkovsky's hope for a new generation that will revive the old values.
particularities
Andrei Rublev is mostly seen by reviewers as a film that is difficult to access. The following points can cause difficulties for viewers:
- The inner connection between the scenes is not easy to grasp. The impression that the film is told chronologically is only vague.
- Rublev cannot be identified as the acting person in many scenes. He often appears as an observer.
- Tarkowski does not work with the fast cuts that determine the narrative technique in many modern films. As a result, the speed of the presentation often approaches the speed of real events.
- There are several scenes in which questions of religion and art are reflected in detail.
synchronization
There are two different German synchronizations of the film, both apparently made in 1973, a BRD synchro created by the Arena Synchron and a GDR synchro created by the DEFA studio for synchronization . The FRG synchro was apparently created for television and was broadcast there for the first time on August 13, 1973, while the DEFA synchro was released in GDR cinemas almost two months later on October 12, 1973. On the DVD released by Icestorm Entertainment is the DEFA synchro.
| Actress | role | BRD synchro | DEFA synchro |
|---|---|---|---|
| Anatoly Solonitsyn | Andrei Rublev | Michael Chevalier | Helmut Schellhardt |
| Nikolai Grinko | Daniil Chornyj | Heinz Theo branding | Gerry Wolff |
| Mikhail Kononov | Fomka | Wolfgang Condrus | ? |
| Ivan Lapikov | Cyril | Friedrich W. Building School | Klaus Glowalla |
| Nikolai Sergeyev | Theophanes, the Greek | Arnold Marquis | Werner Dissel |
| Yuri Nikulin | Patricia | ? | Walter Wickenhauser |
reception
In 1969 the film - despite Soviet protests - was shown out of competition at the Cannes Film Festival and received the international film review award .
The first version of the film (completed in 1966) was criticized by government agencies; in particular, some scenes depicting atrocities were rejected, and the film was recut according to the censors' guidelines.
The “ Lexicon of International Films ” (Catholic film work) states that the 196-minute-long Andrej Rublev (Andreas Passion) :
“Tarkovsky's monumental work in the reconstructed original version, which was banned by the Soviet censors in 1965 and never made it to the cinema. The realistic as well as poetic film may evade hasty ideologization in this original version, but within its clear reference to the Christian Passion story it also sets 'explosive' political accents which led to the ban on the grounds of 'artistic immaturity'. […] - Worth seeing."
The time of January 11, 1974, found that as soon as one had adjusted to the strict and brittle cinematic language of this three-hour black and white film , one would feel in the images a physical force that has hardly been compared in film history.
Awards
Andrej Rublev won the FIPRESCI Prize at the Cannes Film Festival in 1969 , while Irma Rausch received the French Étoile de Cristal for best foreign actress a year later . Further awards were in 1971 the Prix Léon Moussinac of the Association Française de la Critique de Cinéma for best foreign film and in 1973 the Finnish Jussi Film Prize in the same category. In 1995 the work was included in the Vatican 's film list, which comprises a total of 45 films, which the Holy See believes are particularly recommended.
Web links
- Андрей Рублев on YouTube , accessed June 14, 2020. Official film release with subtitles
- Andrei Rublev in the Internet Movie Database (English)
- Review by Klaus Kreimeier in the book Andrej Tarkowskij (Volume 39 of the Film series, edited by Peter W. Jansen and Wolfram Schütte by Carl Hanser Verlag , Munich / Vienna 1987, second publication on filmzentrale.com)
- Michaela M. Kastinger-Haslinger: The film "Andrej Rublëv" by Andrej Tarkovskij. A reflection including aspects of film theory and history . Thesis
Individual evidence
- ^ Andrej Rublev (1966): Release Info in the Internet Movie Database
- ^ Andrej Rublev (1969) in the German dubbing index
- ↑ Information based on the German DEFA opening credits on the ICESTORM DVD.
- ^ Andrei Rublev. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ↑ Film tips . In: The time. No. 3/1974