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. [8] Tarkovsky did not intend the film to be a historical or a biographical film about Andrei Rublev. According to Tarkovsky, the original idea for a film about the life of Andrei Rublev was due to the film actor Vasily Livanov. At first I got the impression they were attempting to pressure my creative individuality. I shortened the final version to 3 hours 6 minutes. He no longer paints and never speaks, and keeps Durochka with him as a fellow companion in silence. 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]. He ridicules the monks as they come in, and after some time Kirill leaves unnoticed. The animal was then shot in the head afterward off camera. Shortly after, a group of soldiers arrive to arrest the skomorokh, whom they take outside, knock unconscious and take away, also smashing his musical instrument. The icons are shown in the following order: Enthroned Christ, Twelve Apostles, The Annunciation, Twelve Apostles, Jesus entering Jerusalem, Birth of Christ, Enthroned Christ, Transfiguration of Jesus, Resurrection of Lazarus, The Annunciation, Resurrection of Lazarus, Birth of Christ, Trinity, Archangel Michael, Paul the Apostle, The Redeemer. It is a beautiful portrait of artistry and religious beliefs in a violent and harsh world of suffering. Andrei Rublev is divided into eight episodes, with a prologue and an epilogue only loosely related to the main film. Durata: 205 Minutes. Note: In the 205-minute version known as The Passion According to Andrei, this episode is titled The Charity Andrei is once again at the Andronikov Monastery as famine and war grip the country. [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. I made some cuts myself. The film was thus able to express the co-dependence of an artist's art and his personal life. 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. Anno: 1966-12-16. 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. This was done to avoid the possibility of harming what was considered a less expendable, highly prized stunt horse. 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. 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 film was released in 277 prints and sold 2.98 million tickets. We shortened certain scenes of brutality in order to induce psychological shock in viewers, as opposed to a mere unpleasant impression which would only destroy our intent. The animal was then shot in the head afterward off camera. The workers soon complain to him that his father treated them differently and one worker, who refuses his orders, is flogged in punishment. Andrei Rublev film Wikipedia ~ Plot Note The following synopsis refers to the original 3 hour 25 minute version of the film Andrei Rublev is divided into seven episodes with a prologue and an . This does not hinder viewer perception. [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). At the critical moment the bell rings perfectly, and she smiles. "[16], The film premiered with a single screening at the Dom Kino in Moscow in 1966. 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. He no longer paints and never speaks, and keeps Durochka with him as a fellow companion in silence. And I do not regret at all that the film has been shortened to its present length. Kirill arrives at the workshop of Theophanes the Greek (Nikolai Sergeyev), a prominent and well-recognized master painter, who is working on a new icon of Jesus Christ. The contract was signed in 1962 and the first treatment was approved in December 1963. He is recognized by a younger monk as the long absent Kirill. In the aftermath only Andrei and Durochka are left alive in the church. 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. The three have just left the Andronikov Monastery, where they have lived for many years, heading to Moscow. Unaware of what has happened to the jester, Daniil thanks the villagers for the shelter. 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. (It is also overheard that the Grand Prince has already had his brother, the one who raided Vladimir, beheaded.). 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 April 1964 the script was approved and Tarkovsky began working on the film. The official answer was that the film was not yet completed and could not be shown at the film festival. Unaware of what has happened to the jester, Daniil thanks the villagers for the shelter. Andrei Rublev has an approval rating of 95% on review aggregator website Rotten Tomatoes, based on 42 reviews, and an average rating of 8.92/10.The website's critical consensus states, "Andrei Rublev is a cerebral epic that filters challenging ideas through a grand scope -- forming a moving thesis on art, faith, and the sweep of history". I am convinced the latest version is the best, the most successful. It is first referenced in Solaris, made in 1972, by having an icon by Andrei Rublev being placed in the main character's room. The image looks pretty rough, which I blame on the fact that so much information is on this disc. 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. М., издательство: Искусство, 1990. 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. The three represent different creative characters. He chose Andrei Rublev for his importance in the history of Russian culture. Andrei is the observer, a humanist who searches for the good in people and wants to inspire and not frighten. Foma, impatient and wanting to work, resigns and leaves Andrei's group to take up the offer of painting a smaller, less prestigious church. As the bell-making nears completion, Boriska's confidence slowly transforms into a stunned, detached disbelief that he's seemingly succeeded at the task. Because of this, it was not released domestically in the officially atheist Soviet Union for years after it was completed, except for a single 1966 screening in Moscow. [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. The voices of the Grand Prince's children were provided by Klara Rumyanova. It took me some time to understand it. [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. 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. Instead, he was motivated by the idea of showing the connection between a creative character's personality and the times through which he lives. I can name films that show much more cruel things, compared to which ours looks quite modest. TIME (magazine) compared the movie unfavorably to Dr. Zhivago; those other New York reviewers who took note begged off explication, citing Rublev's apparent truncation. Theophanes is portrayed as a complex character: an established artist, humanistic and God-fearing in his views yet somewhat cynical, regarding his art more as a craft and a chore in his disillusion with other people. In the second — 3 hours 15 minutes. After being repeatedly burned, he has hot liquid metal from a melted crucifix poured into his mouth and is dragged away tied to a horse. [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." To Tarkovsky horses symbolized life, and including horses in the final scene (and in many other scenes in the film) meant that life was the source of all of Rublev's art. This dreamlike and remarkably tactile film follows Andrei Rublev as he passes through a series of poetically linked scenes—snow falls inside an unfinished church, naked pagans stream through a thicket during a torchlit ritual, a boy oversees the clearing away of muddy earth for the forging of a gigantic bell—gradually emerging as a man struggling mightily to preserve his creative and religious integrity. Kirill approaches Andrei and talks to him for the first time since their departure from the monastery, and he assures him that Durochka won't be in any danger, as harming a holy fool is considered bad luck and a great sin, and that she will be let go. He comes to the conclusion that he has lost the ease of mind that an artist needs for his work. [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. Kirill arrives at the workshop of Theophanes the Greek (Nikolai Sergeyev), a prominent and well-recognized master painter, who is working on a new icon of Jesus Christ. I made some cuts myself. He comforts Boriska, breaking his vow of silence and telling the boy that they should carry on their work together: “You’ll cast bells. Lingua Originale: ITALIANO. In the second — 3 hours 15 minutes. 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