[pellicole -14]
Come chiedere scusa a quei pochi lettori per arrogated to myself the right to talk about cinema since the word is slight compared to the frame? What better way to end a period of years at groped to write about movies, the cinema, if not in the cinema with some thoughts about my favorite film director? Perhaps it would be to shut up before the genius, but the defect of the word this time and then I leave them here-my recent and ridiculous thoughts on film, a cinematographic work incredible, extraordinary, visionary and wonderful Andrej Tarkovskji ... good read indeed good vision.
CHILDHOOD DENIED
Andrej Tarkovskji son of Russian poet Arseny Tarkovsky , Was born in 1932 in Zavrazhe, in the former Soviet Union. From 1939 he attended the state school in Moscow that ended in 1951 with a delay caused by the war is a sickness. After studying piano, painting and sculpture at the school of arts, in 1951 he enrolled at the school of oriental studies, geology but then in 1954 began studying film institute in Moscow, where she will graduate in 1960 with the short "The steamroller and the violin." The main theme running through almost all movies Tarkovskji is the unease that argument comes from his personal experience. Expressing this condition in his works, Tarkovskji part in the figure with her first child length film, "Ivan's Childhood" in 1962, which tells the story of a child forced by war to sad childhood, to grow ahead of time, the background of the conflict between the Red Army and the Nazis. Tarkovsky's cinema is a reflection on the individual, alienated from the reality of his time and immersed in his suffering.
The main character, Ivan, is always serious, the mood is different from the kids his age, but with very clear in our hearts a dream of a normal childhood, with talent expressed through the use of slow motion in dreams of the Child, which have as their object his mother and childhood denied.
Tarkovsky was inspired by a novel Bolomov from entitled "Ivan", to manage personal work in which they are told the adventures of a boy orphaned by war and forced to fight. Here, then, that as soon as possible, falls asleep and dreams of being with her mother, in the places of childhood, playing with friends, kiss the girl he loved. The tragedy of Ivan is made alive and vivid in sharp contrast between her face, smiling and bright in the dream, as opposed to the devastated during the war scenes. "Childhood of Ivan" breaking ties with the literary tradition with melodrama and with patriotism. The war, the film takes on a symbolic value that goes beyond the concrete data. Not by chance are completely absent for fight scenes. The drama is spiritual and the devastation is the greatest expression in the inner face of men.
The twelve year old Ivan, who lost their parents during the Nazi invasion of the Soviet Union becomes a valuable employee of the partisans at first and then the army, engaging in a dangerous series of exploratory missions beyond the lines. Returning from a mission is accepted by men of the lieutenant, who at first suspected it to be a Nazi spy. Following representations by the boy, brought him into contact with the captain and the colonel to whom it provides important information on the location of the enemy. Sent to the school of war, Ivan manages to escape and is joined by the captain, who decides to take with them. Back to the front, Ivan disappears during a sortie. When the war ended the lieutenant discovers that the boy, captured by the Germans, was sentenced to death. The drama of the war are concentrated in the story of the little Ivan. Indeed, "Ivan's Childhood" is a film about war without battle scenes, in which the hallucinatory nature of the story and pictures, and the unconventional way to talk about the ugliness that war because children are the cornerstones. The attempt is to describe the war that lives in Ivan, located within his personal history, revealed in the moments when it reveals the desire for self-destruction, death to self, the causes can not be identified in that war and the loss of parents at war. So Ivan is at the same time: child - soldier - adult - senior - father - rebel - Commander - Fugitive - subordinate. And that's the great war-theft function and dare I say it from any form of violence: stealing time, denying the future growth. The main theme of the film thus becomes the overthrow of the logic of reality, on the one hand the appearance of a door that opens and closes but just before passing through, that is the dream, the other the violent and unjust daily struggle for survival, that is the reality of war. The dreamlike visions of little Ivan, colme di elementi simbolicamente materni quali ad esempio l’acqua, i frutti della terra non sono altro che piccole parentesi ancora più struggenti al confronto di un risveglio drammatico in un mondo opposto a quello sognato. In genere la guerra viene rappresentata sempre con immagini cruente non nel caso di questo assoluto capolavoro che parla di guerra tramite l’infanzia negata del giovanissimo Ivan
L’ESULE
Nel 1965 è poi la volta di "Andrej Rublev", che racconta la storia di Rublev, famoso pittore di icone russo del 1400. In questo film viene affrontato il tema dell'artista in rapporto al suo tempo ed al disagio che questo provoca. Infatti lo stesso Tarkovskji afferma: "L'artista non è mai libero. Non vi è another category of people is less freedom of artists. They are chained to their gift to their predestination, which is to serve your gift and, for that very reason, the men '. It is precisely this concept that Tarkovskji wants to express this in his masterpiece. In fact, early Rublev is represented as an artist believes that art is the only thing that ennobles man, but in the course of his life also because of historical facts which assists, including the invasion of Russia by other people first understand how art is simple, then falls into the opposite or in the removal from the values, then makes a vow of silence to expiate guilt, until l'incontro con un fanciullo, figlio di un costruttore di campane, gli permette di raggiungere un equilibrio tra i suoi valori fondamentali e cioè vita, arte e religione. Dunque Rublev è un eroe schivo ed introverso, facile preda di dubbi ed esitazioni ma tenace e voglioso di comunicare e di contribuire al bene dei propri simili. Rublev si rende conto che la vera possibilità di arginare la violenza repressiva dell'autorità si trova in un legame più vero con gli altri e cerca di comunicare questo al popolo, attraverso le proprie opere. In un mondo grigio la luce delle sue icone è un invito ad un atteggiamento più spirituale. Il suggerimento non viene raccolto e l'artista decide di non parlare più, né con la voce né con la propria produzione artistica. Riprenderà a parlare solo alla fine del film, quando il coraggio di un ragazzo compie una “sorta” di miracolo. La campana del villaggio, occupato da un'orda di invasori, si spacca e viene ordinato al fonditore di campane, l'unico a conoscenza della formula che permette all'argilla con cui viene fatta la campana di resistere ai violenti rintocchi, ne costruisca una nuova. Ma costui è morto, portandosi nella tomba il segreto della formula. Molti provano a costruirne una, ma senza successo e ciò indispettisce gli invasori che riprendono a saccheggiare e seviziare la popolazione. Inaspettatamente il figlio del fonditore di campane, dichiara di essere in possesso della formula, confidatagli dal padre prima di morire, but will not reveal it.
must be driving him to the workers. When the work is completed and the people celebrating the event, the boy crying in despair because he was convinced that his formula for the construction of the bell will not work. Rublev's approaches and for the first time in years starts to talk and decided to return to painting. We in Russia around the beginning of 1400 in front of a church, a man was trying to fly over a rudimentary balloon. The ball must be lifted in the air that is constructed of leather sewn together. A group of people break out against those who are working the business, but the ropes that keep the ship anchored on the ground are cut off: the balloon rises, causing mixed emotions of anger and wonder. After flying over the surrounding countryside for a short time, unstitching and falls to the ground again. The ecstasy of this "kind" of shamanic flight dissolves. It is like severing an umbilical cord that binds man to earth: the strength of gravity. Tarkovsky seems to suggest that a hidden constraint of equal intensity binds himself and by extension his countrymen to Mother Russia. There is the history of this country a "compulsion to repeat" its past in the form of a political regime of despotic nature. As in Russia say that the story takes its course passing with some lousy continuity. Labor artistic and cultural Andrei Rublev seems to reflect the location vesting ideological Tarkovsky, and by extension of the intellectuals in 1900. The two Andrej would basically share the same aspiration to instances of a humanism on a collision course with the powers that be. Tarkovsky's film is shot entirely in black and white, except for the final color that gives an overview of the works of Rublev. From beginning to end, the film Tarkovsky uses a symbolic language of its own: the bell with the representation of Saint George defeating the dragon, or the devil. St. George is the patron of horses, and these represent a symbolic element in the film Tarkovskji quite common, which could be associated with the double meaning traditionally assigned to them. On the one hand to the underworld and the other to heavenly waters, the sources and rivers. In fact, early in the film, immediately after the scene of the ball that falls to the ground, Tarkovsky introduces the image of a horse that is rolling prairie, seeming to break away from the earth and be born from it, and eventually at the scene of four horses that are grazing in the rain in a river. The horse is also symbolic of the spirit of the Russian people, their yearning for freedom, identity with nomadism. Andrei Rublev Tarkovsky offers the opportunity to review the past of Russian history seems to repeat itself even if in new forms. Old and new forms of power politico in cui il ruolo delll’intellettuale è sempre stato quello dell’esule. Un eremita costretto a vagare nei meandri delle sue conoscenze, della sua fantasia che galoppa come i cavalli di questo meraviglioso film
DESCENSUS AVERNO
Nel 1972 esce Solaris, un capolavoro del genere fantascienza, tratto dall'omonimo romanzo di Stanislaw Lem. In un'epoca imprecisata, uno psicologo è inviato dalla commissione scientifica sovietica sulla stazione orbitante attorno al pianeta Solaris. Ha il compito di redigere un rapporto intorno agli strani fenomeni che li si verificano e di cui sono testimoni e vittime i tre scienziati che ancora stazionano la: un fisiologo, un cibernetico ed un fisico. Il pianeta Solaris è un'entità relation to the other discoveries so far: it has a different intelligence and unfathomable. At a time when, unable to relate to other methods, the scientists bombarded with x-rays to get a reaction, the magma of the planet thinking reacted, causing their breakdown. The crisis experienced by individuals has caused a rift within the scientific community itself, with the formation of two groups. The first group considers it important and necessary to find a contact with the thinking of the planet, the second group believes this dangerous road, not scientifically valid. An astronaut during a reconnaissance trip around the planet, has witnessed some facts incredibili. La testimonianza che rilascia, anziché fare chiarezza sul mistero che ruota intorno a Solaris, acuisce ancor più la frattura fra i due gruppi. Un gruppo dichiara chiuso il caso, non avendo alcun dubbio sul fatto che l’astronauta è stato preda di allucinazioni, mentre l’altro gruppo è fermamente convinto che l'astronauta è stato testimone del rappresentarsi di una intelligenza diversa. Il compito di decidere sulle sorti del pianeta viene affidato allo psicologo. Giunto sul pianeta egli trova una intelligenza diversa, estranea, che cerca di comunicare con lui attraverso la moglie, morta suicida anni prima. Egli si imbatte nell'ignoto e si trova psicologicamente impreparato ad accoglierlo. Quando mette da parte il proprio ego, he realizes that in order to communicate with the magma thinking, he must adapt to a form of life other. Communication is established, the man feels throbbing within him the same mysterious force that moves the huge planet's surface and from which it is forced to remain, were aware of a possible resurgence in this distant celestial body. The film ends with the same view with which it had begun: that of the parental home. The psychologist returns from elderly father with whom he was in dissent and fell at his feet, re-creating, as in a picture, the image of "The Prodigal Son" by Rembrandt. The camera moves away showing us how the whole affair is taking place on a small island on the planet Solaris, perhaps the protagonist's own mind. Tarkovsky creates a new language and more with Solaris. In the big ship that turns the sea of \u200b\u200bSolaris, the planet surrounded by an ocean consisting of a strange kind of matter capable of reflecting the soul. Not the sublime, but the more real that belongs to each one of us, what modern psychologists call your inner self. The planet reflects what you are, not what you want to be, reflects their moral condition. Experience disgusting, unbearable for anyone, even if only in thought. But here's the here-materialized in foul monsters, obsessions and blunders, unconscious or archetypal content with life. People do not love, evil and all our regrets materialized paintings and on film. The only form of comfort seems to be Tarkovskji fate to inhabit the earth. Only regret in a purified state of almost madness, from the time since, until they return to the room where the father is one of the books with the dog, and rain that wet behind the glass, and cleans everything. That's all that perhaps Tarkovskji means living one's destiny. Moreover Andrei Tarkovsky film was the art form that uses time as its raw material. What is the color for painting, music is the sound, is the word for poetry, the cinema is the time, the same time and I dare say the same malaise that engulfs the sensitive person who is confronted with himself. Faced with a world dominated by science and technology Tarkovskji claims the value of art as an instrument of knowledge of the truth, or even as an archetype of truth itself. In fact, our director said: "Through art, man appropriates reality through a subjective experience. In science, human knowledge of the world proceeds along the steps of a stairway endlessly, and was subsequently replaced by new knowledge about it that often are refuted each other in the name of objective truths details. The discovery of art, however, is born each time as a new and unique in the world, as a hieroglyphic of absolute truth. Essa si presenta come una rivelazione, come un desiderio appassionato e improvviso di afferrare intuitivamente tutte in una volta le leggi del mondo, la sua bellezza e il suo orrore, la sua umanità e la sua ferocia, la sua infinità e la sua limitatezza. L’artista le esprime creando l’immagine artistica che è uno strumento sui generis per cogliere l’assoluto. Per mezzo dell’immagine si mantiene la percezione dell’infinito dove esso viene espresso attraverso le limitazioni: lo spirituale attraverso il materiale, lo sconfinato grazie ai confini”
RICORDI E SEPARAZIONI
Nel 1975 è la volta de "Lo specchio”, un immenso capolavoro. E' difficile esprimere a parole la grandezza di quest'opera: molto sinteticamente essa riporta le riflessioni del regista sulla sua vita, della quale compie un bilancio valutativo intorno ai quaranta anni. Dunque a prima vista verrebbe da dire: meta-cinema, ma in realtà “Lo specchio” è anche qualcos’altro. La trama del film si snoda intorno alla rappresentazione in parallelo del racconto dell'infanzia del protagonista e di immagini rappresentanti vicende storiche e della vita adulta del regista. Il tema principale potrebbe essere rappresentato dal destino dello stesso regista sia da bambino che da adulto, prima come spettatore, poi come protagonista. In buona sostanza questo film parla di ricordi e di separazioni. Descrivendole con immagini che non hanno una sequenza logica, egli paragona l'immagine the wife to her mother, essentially similar in personality, this collection of intertwining with poetic memories delicate, made of slow motion and many close-ups. There is a "kind" of slowness in the story told, as if to ask Tarkovskji silence and concentration for complete identification in the events of the film. A film where several generations are reflected in a hall of mirrors, endlessly reproducing the same image. The Mirror could be the story of successive generations over time. A personal history reflected in the history of a people and a civilization, the story of a difficult process of identification and a "complex breast, "which features the director's personal history and collective history of the entire Russian people. Born during a period of illness of the director, this masterpiece is characterized by moments of intense reflection on its past. The director sees the project into their own experience of existential experience of the son, as he is forced to suffer the consequences of the separation of parents and education strongly influenced by the maternal female component. It 's like Tarkovsky is reminiscent of his childhood and his mother's house in the countryside, during the evacuation because of the war. Several images are alternated without any logical sequence: the arrival of the new physician of the neighboring country, the burning of a barn, the father's return from the front, the dream of the mother and the house that is about to collapse. Ridestatosi by memories, the director called her mother on the phone and informs him that the death of his beloved companion of his youth work. Kicks to the memory of an episode when his mother worked in the drafting of a publishing house: a young woman hurries in torrential rain to reach the printer, where he handed over the draft of a publication that should go to press.
She is breathless and his arrival in typography evokes a certain nervousness. Shall obtain drafts, reads them. In this episode it happens another depicting the political exiles from Spain. Images taken from documentary footage of the English Civil War along with other run of some manifestations of popular enthusiasm, at the launch of balloons in the Soviet Union. After that, the memory moves to his son, a boy next to adolescence. Soon after an elderly woman with clothes nineteenth century, appears in the living room and the boy is invited to read a book a few sentences underlined. And even the phone call to his son and a memory of war as seen through the eyes of a boy. Here are other images from the archives: the Soviet army passed through a lake, men covered with mud that seem out of the land, the taking of Berlin by the Red Army and photos of the alleged corpse Hitler, then the celebrations for the end of the war in Moscow, the head of the atomic bomb in Hiroshima and Nagasaki. All images that express the views of Tarkovskji view on history but also metaphorically through the eyes of Russia. Then the painful memory of the separation from his wife. Then the mind goes back to the mother, when they were displaced during the war, and his mother had sold a pair of earrings, to get food. Other memories crowd the mind: his sister, his grandmother. And remember the images fade in memory on a set of trees at sunset. We are the epilogue of this absolute masterpiece, journey back in time and separation is the same Tarkovskji that the Russian people but I dare say the whole humanity.
EPILOGUE After "The Mirror" followed by three more masterpieces: "Stalker" in 1979, "Nostalghja" of 1983 and finally "Sacrifice" came out in 1986 shortly before his untimely death occurred in Paris in late December of 1986
by Mariano Lizzadri
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