Andrei Rublev
“Andrei Rublev” is a strange film. After seeing Tarkovsky’s masterpieces, “Stalker” and “Solaris”, I expected a film of that sort. Both “Stalker” and “Solaris” are color films, and you can categorize them into “existential mood pieces poor on dialogue”. “Andrei Rublev” is so immensely different. Without the Tarkovsky colors, the film strangely focuses on its rather long dialogue and comparably short shots. In fact, I perceived it as openly shocking – a Soviet film about religion, showing naked pagans and extremely violent war scenes? Is that really Tarkovsky? Upon second inspection, one would come to the realization that it of course is Tarkovsky. It is a very contemplating film full of ideas, and as a film about an artist’s block it is much more thoughtful than, say, 8 1/2. I liked how it saw the artist less as an individual (ultimately we still don’t know much about Andrei Rublev!) but more about “the artist” in general in relation to its surroundings, and how he can marry what he sees in the world with his art. The Andrei Rublev shown by Tarkovsky is someone who does not have many characteristics besides being good at his art and troubled with the world, but that is precisely the crucial generalization driving the point home.
Surprisingly enough, for its black and whiteness, “Andrei Rublev” appears less stylish to me than “Stalker” and “Solaris”. Tarkovsky defies all rules governing my viewing preference. I typically prefer fast-paced films with lots of dialogue in black and white. But, oh, “Stalker” is the exact opposite of that and I absolutely love it.
Visually, the raid of the church is probably the most stunning scene of the film. (And the end of it!) Somehow I also really liked the scene with the brotherly kiss where the one guy stomps on the feet of the other while doing so. Just like every other Tarkovsky film, “Andrei Rublev” is one of those movies which makes you plunge into a different world, in this case medieval Russia which I assume most of you have not really encountered either.
I am a little bit obsessed with the character of Durochka, who is clearly the most positive in the whole film. She has the most awesome and beautiful scenes, it’s almost a declaration of love from Tarkovsky to his wife. My second favorite part was the little bell maker. He is full of himself and has so many faults, yet I was rooting for him. The end was so suspenseful and it felt like a little miracle was happening.
Tarkovsky is amazing at picking great topics. Putting the artist’s block into Russian medieval times is a very typical thing for him to do (has he made any movie in the “normal” contemporary world?) and it turned out great. It’s a film that makes you relish in the pictures and contemplate about what you just saw. At the same time, it is a film one could also easily dismiss as “too brainy” or “too boring”. For me, right now this is exactly what I am looking for.