Unfortunately for Tarkovsky and for us, Kruschev was deposed shortly after filming began, and the 205 minute version was not seen until twenty five years after its creation. Four embedded scenes of flashbacks or fantasies were also cut completely: Foma's fantasy of flight in episode two, Andrei's reminiscence of the three monks under a rain-soaked oak tree in episode four, the younger prince's fantasy of humiliating the Grand Prince in episode five, and Boriska's recollection of the bellfounding in episode seven. "[21], Several scenes within the film depict violence, torture and cruelty toward animals, which sparked controversy at the time of release. Foma confesses to having taken honey from an apiary, after Andrei notices his cassock is sticky, and he smears mud on his face to soothe a bee sting. In a flashback, the Grand Prince and his brother attend a religious service in a church, and the rivalry and animosity between them is clear. 87 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. One reason for including this color final was, according to Tarkovsky, to give the viewer some rest and to allow him to detach himself from Rublev's life and to reflect. Going to investigate, he comes upon a large group of naked pagans who are conducting a lit-torch ritual for Kupala Night. I’ll paint icons.” Andrei then sees Durochka, the boy and the horse walk off across a muddy field in the distance. [27] Criterion's producer of the project stated that the video transfer was sourced from a film print that filmmaker Martin Scorsese had acquired while visiting Russia. The image looks pretty rough, which I blame on the fact that so much information is on this disc. The film's themes include artistic freedom, religion, political ambiguity, autodidacticism, and the making of art under a repressive regime. He also mentioned that he would love to play Andrei Rublev. Audience reaction was enthusiastic, despite some criticism of the film's naturalistic depiction of violence. They encounter Theophanes in the forest, and the old master sends Foma away, unimpressed by his attitude to art. For example, during the Tatar raid of Vladimir a cow is set on fire. [30], J. Hoberman, a film critic for The Village Voice, summarized the early reception of the film in the film notes included in the Criterion DVD release of the film stating: "Two years later (in 1973), Rublev surfaced at the New York Film Festival, cut another 20 minutes by its American distributor, Columbia Pictures. Director Andrei Tarkovsky Genres Drama, Biography, History Rating * 8.1 Votes * 33,351 Checks 6,381 Favs 924 Dislikes 86 Favs/checks 14.5 % (1:7) Favs/dislikes 11:1 * View IMDb information. Theophanes argues that the ignorance of the Russian people is due to stupidity, while Andrei says that he doesn't understand how he can be a painter and maintain such views. The film finally ends with the image of horses at river in the rain. The Tatars force their way into the barricaded church, now fully decorated with Andrei's paintings, where the majority of the citizens have taken refuge. [16], Tarkovsky chose to shoot the main film in black and white and the epilogue, showing some of Rublev's icons, in color. For the role of Andrei Rublev he required "a face with great expressive power in which one could see a demoniacal single-mindedness". 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. Andrei is intrigued and excited by the behaviour of the pagans but is caught spying on a couple making love, tied to the crossbeam of a hut, his arms raised in a mockery of Jesus' crucifixion, and is threatened with drowning in the morning. Andrei Rublev is set against the background of 15th-century Russia. [26] When the film was released in the U.S. and other countries in 1973, the distributor Columbia Pictures cut it by an additional 20 minutes, making the film an incoherent mess in the eyes of many critics and leading to unfavorable reviews. The film was released in 277 prints and sold 2.98 million tickets. Other scenes that were cut from the script are a hunting scene, where the younger brother of the Grand Prince hunts swans, and a scene showing peasants helping Durochka giving birth to her Russian-Tatar child. I can name films that show much more cruel things, compared to which ours looks quite modest. 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. All my friends and colleagues who during long discussions were advising me to make those cuts turned out right in the end. The three represent different creative characters. Later I understood that this final version of the film more than fulfils my requirements for it. Warrison An interesting documentary on the challenges of making a bronze bell in 15th century Russia. After the ceremony, Andrei finds Boriska collapsed on the ground, sobbing. As they walk on, the heavy rain starts again. Instead, they come upon Boriska, who tells them that the area has been ravaged by a plague, and that his father, as well as all his family, is dead. The final scene crossfades from the icons and shows four horses standing by a river in thunder and rain. "[15], The film was ranked No. (Criterion advertises this version as the "director's cut," despite Tarkovsky's stated preference for the 186-minute version.) 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. He comes to the conclusion that he has lost the ease of mind that an artist needs for his work. The film was shot on location, on the Nerl River and the historical places of Vladimir/Suzdal, Pskov, Izborsk and Pechory. The film was released in 277 prints and sold 2.98 million tickets. [32] It is next referenced by having a poster of the film being hung on a wall in Mirror, made in 1975.[33]. Men have been sent by the prince to search out Boriska's father in order to ask him to cast a bronze bell for a church. I shortened the final version to 3 hours 6 minutes. Andrei, who is also in the church, saves Durochka from being raped by killing a Russian soldier with an axe. Andrei Rublev is set against the background of 15th-century Russia. The shorter version comes from a high-definition restoration scanned from 35mm internegative. Kirill soon arrives and intervenes on behalf of the silent Andrei and later privately confesses to Andrei that his sinful envy of his talent dissipated once he heard Andrei had abandoned painting and that it was he who had denounced the skomorokh. 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. Before his death from cancer in 1982, Solonitsyn was also intended to play protagonist Andrei Gortchakov in Tarkovsky's 1983 Italian-Russian co-production Nostalghia,[12] and to star in a project titled The Witch which Tarkovsky would significantly alter into his final production, The Sacrifice. Back at the church, Andrei is dismayed by the news of the attack on the artisans and angrily throws paint and smears it on one of the walls. Notable scenes that were cut from this version were the raid of the Tartars and the scene showing naked pagans. He ridicules the monks as they come in, and after some time Kirill leaves unnoticed. It’s a medieval epic (the version not censored runs 186 minutes), based on the life of the Russian monk and icon painter Andrei Rublev (Anatoli Solonitzine), who was born in either 1360 or 1370 and died in 1430. In reality the cow had an asbestos-covered coat and was not physically harmed; however, one scene depicts the real death of a horse. The shortest known version has been truncated to 145 minutes. His wish is granted after much pleading and initial rejection, but he is instructed to copy out the holy scriptures 15 times in penance. The bishop's messenger Patrikei is also present; he is tortured with fire to make him reveal the location of the city's gold, which he refuses to do. The film was remade and re-edited from the 1966 film titled The Passion According to Andrei by Tarkovsky which was censored during the first decade of the Brezhnev era in the Soviet Union. Kirill wants to leave, so Andrei wakes up a resting Daniil. Release of Blu-Ray for The Passion According to Andrei. One scene shows a horse falling from a flight of stairs. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions. Speed Cinema Presents: Andrei Rublev. 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 leaves for Moscow with his young apprentice Foma (Mikhail Kononov). Andrei leaves for Moscow with his young apprentice Foma (Mikhail Kononov). Durochka, however, is too simple-minded to understand or remember what the Tatars did and is fascinated by the shining breastplate carried by one of them. Despite Tarkovsky's refusal to make further cuts, Andrei Rublev finally was released on December 24, 1971, in the 186-minute 1966 version. 1966, Russia, DCP, in Russian with English subtitles, 183 minutes. Solonitsyn, who had read the film script in the film magazine Iskusstvo Kino, was very enthusiastic about the role, traveled to Moscow at his own expense to meet Tarkovsky and even declared that no one could play this role better than him. In 1987, when Andrei Rublev was once again shown on Soviet TV, the epilogue was once again in black and white, despite the Soviet Union having completely transitioned to color TV. Whether one wishes to fly before it has become possible, or cast a bell without having learned how to do it, or paint an icon – all these acts demand that, for the price of his creation, man should die, dissolve himself in his work, give himself entirely. The men are initially dismissive, but soon agree, and Boriska is put in charge of the project. Livanov proposed to write a screenplay together with Tarkovsky and Konchalovsky while they were strolling through a forest on the outskirts of Moscow. In the second — 3 hours 15 minutes. The first cut of the film was over 195 minutes in length prior to being edited down to its released length. 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. For example, during the Tatar raid of Vladimir a cow is set on fire. Tarkovsky sought to create a film that shows the artist as "a world-historic figure" and "Christianity as an axiom of Russia's historical identity"[1] during a turbulent period of Russian history that ultimately resulted in the Tsardom of Russia. Although they have been there for two months the walls are still white and bare. Picture 7/10. Andrei Rublev (alternately transliterated as Andrei Rublyov) is an epic film created by the Soviet-era director, Andrei Tarkovsky. As the furnaces are opened and the molten metal pours into the mould, he privately asks God for help. He admits his father never actually told him his bell-casting secret. To produce this image, Tarkovsky injured the horse by shooting it in the neck and then pushed it from the stairs, causing the animal to falter and fall down the flight of stairs. While walking on a path through a nearby forest towards the mansion of their client, the artisans are assaulted by soldiers sent by the Grand Prince, and their eyes are gouged out, leaving them incapable of practicing their craft. Kirill is jealous of Andrei and, in a fit of anger, decides to leave the monastery for the secular world, throwing accusations of greed in the face of his fellow monks, who also dismiss him. He comforts Boriska, breaking his vow of silence and telling the boy that they should carry on their work together: “You’ll cast bells. I can name films that show much more cruel things, compared to which ours looks quite modest. Andrei Rublev (Russian: Андрей Рублёв, originally pronounced Rublyov) is a 1966 Soviet biographical historical drama film directed by Andrei Tarkovsky and co-written with Andrei Konchalovsky. Despite Tarkovsky's refusal to make further cuts, Andrei Rublev finally was released on December 24, 1971, in the 186-minute 1966 version. A messenger Patrikei arrives with word from the Bishop, who is furious, to say they have until Autumn to finish the job. Soviet officials tried to prevent the official release of the film in France and other countries, but were not successful as the French distributor had legally acquired the rights in 1969.[19]. Kirill then criticizes Andrei for allowing his God-given talent for painting to go to waste and pleads with him to resume his artistry, but receives no response. 2018. This section contains a Passion Play, or a reenactment of Christ's Crucifixion, on a snow-covered hillside which plays out as Andrei recounts the events of Christ's death and expresses his belief that the men who crucified him were obeying God's will and loved him. "[16], The film premiered with a single screening at the Dom Kino in Moscow in 1966. 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. Nobody except me. ANDREI RUBLEV Andrei Tarkovsky, U.S.S.R. 1966, 205 minutes Tarkovsky’s extraordinary second feature is considered by many to be the finest Soviet film of the postwar era. I shortened the final version to 3 hours 6 minutes. The total number of shots went from 403 to 390, with the average shot length dropping from 31" to 28". At first I got the impression they were attempting to pressure my creative individuality. clock. The only sequence which remained inviolable was the Epilogue in color. As the furnaces are opened and the molten metal pours into the mould, he privately asks God for help. This section contains a Passion Play, or a reenactment of Christ's Crucifixion, on a snow-covered hillside which plays out as Andrei recounts the events of Christ's death and expresses his belief that the men who crucified him were obeying God's will and loved him. Andrei runs away and is lost in the dense woods, scratching his face. Show Map. [1][19] After Tarkovsky completed this first version, it would be five years before the film was widely released in the Soviet Union. 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. Unaware of what has happened to the jester, Daniil thanks the villagers for the shelter. This does not hinder viewer perception. It is a beautiful portrait of artistry and religious beliefs in a violent and harsh world of suffering. 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. [14][15] The initial budget was 1.6 million Rubles, but it was cut several times to one million Rubles (In comparison, Sergei Bondarchuk's War and Peace had a budget of eight and half million Rubles). Despite Tarkovsky's objections expressed in a letter to Alexey Romanov, the chairman of Goskino, the ministry demanded further cuts, and Tarkovsky trimmed the length to 186 minutes.[20]. 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. 2445 Monroe St, Toledo, OH 43620. The workers soon complain to him that his father treated them differently and one worker, who refuses his orders, is flogged in punishment. [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. Andrei attempts to stop her from leaving, but she is delighted with the Tatar's gifts, and she rides away with the Tatars. [10] Tarkovsky felt the same, saying that "with Solonitsyn I simply got lucky". In April 1964 the script was approved and Tarkovsky began working on the film. 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. And I do not regret at all that the film has been shortened to its present length. [22] In February 1967, Tarkovsky and Alexei Romanov complained that the film was not yet approved for a wide release but refused to cut further scenes from the film. Back at the church, Andrei is dismayed by the news of the attack on the artisans and angrily throws paint and smears it on one of the walls. In an attempt to downplay the cruelty Tarkovsky responded: "No, I don't agree. Release of Blu-Ray for The Passion According to Andrei. After completion, the bell is hoisted into its tower and the Grand Prince and his entourage arrive for the inaugural ceremony as the bell is blessed by a priest. [3] At the same time the script was published in the influential film magazine Iskusstvo Kino, and was widely discussed among historians, film critics and ordinary readers. It is revealed that Boriska and the work crew know that if the bell fails to ring, the Grand Prince will have them all beheaded. Plot summary Note: The following synopsis refers to the original, 205 minute version of the film. In 1971 Andrei Rublev won the Critics Award of the French Syndicate of Cinema Critics, and in 1973 the Jussi Award for Best Foreign Film. 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. The next morning Andrei returns to his group, with Daniil now present, and as they leave on their boats a group of soldiers appear on the riverbank chasing after several of the pagans, including Marfa. In the Soviet Union, influential admirers of Tarkovsky's work—including the film director Grigori Kozintsev, the composer Dmitri Shostakovich and Yevgeny Surkov, the editor of Iskusstvo Kino[14]—began pressuring for the release of Andrei Rublev. [16], Tarkovsky chose to shoot the main film in black and white and the epilogue, showing some of Rublev's icons, in color. The image has not been enhanced for widescreen televisions. He chose Andrei Rublev for his importance in the history of Russian culture. Directed by Andrei Tarkovsky. Andrei Rublev won several awards. A young woman, Durochka (Irma Raush), whose name identifies her as a holy fool, or Yurodivy, wanders in to take shelter from the rain and is upset by the sight of the paint on the wall. 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. 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. Past(01/19/2019) 6:00PM The Speed Art Museum The Criterion Collection. He furthermore tells them that he is the only one who possesses the secret, delivered by his father at his death bed, of casting a quality bronze bell, and asks them to take him with them, as he is, by his own contention, the only person left alive who can complete the task successfully. [28] In June 2018, Criterion announced that it would release both the first and final cut of the film on DVD and Blu-ray in September 2018.[29]. In the forest, Andrei and Theophanes argue about religion, while Foma cleans his master's paint brushes. In reality the cow had an asbestos-covered coat and was not physically harmed; however, one scene depicts the real death of a horse. The viewer doesn't even notice their absence. The film's prologue shows the preparations for a hot air balloon ride. Foma, impatient and wanting to work, resigns and leaves Andrei's group to take up the offer of painting a smaller, less prestigious church. Andrei and Daniil are working on the decoration of a church in Vladimir. Rublev struggles to maintain his faith and his art in the turbulence of the times; since relatively little is known of his actual life, the film is actually the story of Russia rather than a true depiction of the artist himself. Andrei Rublev was accused of being "anti-historical" in its failure to portray the context of its hero's life: the rapid development of large cities and the struggle against the Mongols. His wish is granted after much pleading and initial rejection, but he is instructed to copy out the holy scriptures 15 times in penance. [9], Tarkovsky cast Anatoly Solonitsyn for the role of Andrei Rublev. In the same monastery, refugees discuss the problems plaguing their respective home towns, and one man who appears starts telling, in a broken voice, of his escape from Vladimir. 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. Audience response nevertheless was enthusiastic, and the film won the FIPRESCI prize. Her lover is captured but she makes her escape by swimming naked into the river, passing right by Andrei's boat. And this may even repel them." 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. [3] But the film failed to win approval for release from Soviet censors; the Central Committee of the Communist Party wrote in its review that "the film's ideological erroneousness is not open to doubt." It took me some time to understand it. The viewer doesn't even notice their absence. [25], In 1973, the film was shown on Soviet television in a 101-minute version that Tarkovsky did not authorize. [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. 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). They're listing the runtime for the director's preferred version that's on the first disc of the Blu-ray; the … The 205 minute ‘original’ version of the film (it is longer because it is the version of the film that existed before Tarkovsky cut it down to platacate the censors, but at the same time, he held that he agreed with all the cuts he made because they improved the film’s momentum) is available as the well-known Criterion Collection edition. [35], In 2011, director Joanna Hogg listed it as a film that changed her life.[36]. [1], In the mid-1990s, Criterion Collection released the first-cut 205-minute version of Andrei Rublev on LaserDisc, which Criterion re-issued on DVD in 1999. I made some cuts myself. [13], According to Johnson, filming did not begin until April 1965, one year after approval of the script, with J. Hoberman reporting a slightly earlier date of September 1964 for the start of filming in his film essay for the Criterion collection release of the film. by Robert Bird)", "An Interview with Marina Tarkovskaia and Alexander Gordon", "The 100 Best Films Of World Cinema: 87. In a flashback, the Grand Prince and his brother attend a religious service in a church, and the rivalry and animosity between them is clear. The main film charts the life of the great icon painter through seven episodes which either parallel his life or represent episodic transitions in his life. Anno: 1966-12-16. On a nearby road in the middle of a field of flowers Andrei confides to Daniil that the task disgusts him and that he is unable to paint a subject such as the Last Judgement as he doesn't want to terrify people into submission. As the rain has stopped, Kirill returns. Andrei Rublev won several awards. Tarkovsky and his second wife, Larisa Tarkovskaya, wrote letters to other influential personalities in support of the film's release, and Larisa Tarkovskaya even went with the film to Alexei Kosygin, then the Premier of the Soviet Union. This episode concerns Boriska, (Nikolai Burlyayev) the young son of an expert bellmaker. [11] Solonitsyn would continue to work with the director, appearing in Solaris, The Mirror, and Stalker, and in the title role of Tarkovsky's 1976 stage production of Hamlet in Moscow's Lenkom Theatre. And I only cut certain overly long scenes. I am convinced the latest version is the best, the most successful. 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Is loosely based on the film 's prologue shows the preparations for a film the... Ease of mind that an artist 's art and his fellow monks look away in Lithuania, his younger... Cut from this version were the raid ) be disputed, however, is that 'Andrei Rublev ' is. Lucky '' 's boat ever cut anything from Andrei Rublev was due to the for... Afflictions of the film ends with the longer 205-minute cut, known as the are. Shots went from 403 to 390, with a single screening at the Dom Kino in Moscow 1966! Anything heroic the critical moment the bell rings perfectly, and the making of art under a repressive regime during...

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