Andrei Tarkovsky's films - eternal quest for oneself

It is impossible to understand and evaluate the films of Andrei Tarkovsky, not taking into account the spiritual and artistic context in which the creative personality of the director was taking place.

The greatest analyzer of the inner world

Andrei Tarkovsky's films are full of citations of the classics of Russian literature, the heroes of his works at critical moments of their existence look for the courage to go deep inside themselves in search of answers that give meaning to their lives. The legendary director was deservedly named one of the greatest artists in describing the inner world of man. The creative elite considers Tarkovsky to be a great merit by the cinematographic language of immersion in the depths of himself, more than once described in Russian art works. In the modern world, the man in the street has stopped "peeking" inside himself, so Andrei Tarkovsky's films, after a long period of time after their release, retain their pristine depth and charm. Therefore, they are so dear to the viewer, in which the need for understanding the meaning of his existence, purpose still remains.

The beginning of the creative path

Short film "The Skating rink and the violin" - the diploma project of the beginning director-producer - at the film festival of student works in New York received the grand prix. After such a breakthrough, Tarkovsky worked for some time at the Soviet film studio Mosfilm. He was a screenwriter and co-author of a lot of films: adventure - "One chance out of a thousand," criminal - "Beware! Snakes! "," Antarctica is a distant country ", animated -" Gofmaniana ", etc. Andrey tried himself in the actor's role, starring in the films" Sergei Lazo "and" I'm 20 years old. "

But Tarkovsky's world recognition and fame was brought by the first full-length film "Ivan's Childhood". Taking up the production of the picture, the young director first of all radically changed the traditional version of the screen version of the story "Ivan" by V. Bogomolov, while the wise writer could not resist the pressure of the young director. The picture was perceived in the West in an existential vein, referring to the narrative of the breakdown in the mind of a child who had survived the "deadline" - the last line between life and death. In the USSR, film critics of all stripes deliberately stressed the tragically heroic pathos of the history of the young scout, sometimes ignoring the anti-war orientation of the tape.

Warnings from the past

Further Tarkovsky's films all without exception became significant events in the cultural life of the state, exerting a noticeable influence on the spiritual development of the society. The painting "Andrei Rublev" is the most recognized work of the director, she was included in the list of the best creations of the world cinema, highly appreciated by those artists who do not accept other creations of the great Russian director. All without exception, film critics, domestic and foreign, noted of course an innovative approach to the genre of historical and biographical cinema. The life path of the great icon painter served as a starting point for the creative search and the director's reflections on the fate of the creators of Russia.

The salutary bitterness of nostalgia

A special place in the filmography of the director is occupied by films made based on the works of outstanding contemporary science fiction writers (the Strugatsky brothers and Stanislav Lem), "Stalker" and "Solaris". After these films Andrei Tarkovsky went on the rental, almost all the filmmakers began to seek out a secret subtext, referring the film to encrypted allegories. Although if you try to ignore the external content of the paintings and compare them with "Nostalgia", then these three projects seem to form a single trilogy about returning to the original sources, searching for a home and the saving bitterness of nostalgia.

Multifaceted meaning

"Solaris" is a film full of numerous allegories and symbols, which are rather difficult for an unprepared viewer to understand. The director intentionally uses the method of monotonous plot narrative, in which long angles play a dominant role. The thing is that with a long contemplation of such scenes unconsciously the viewer joins in meditation. The organism of the beholder after such episodes begins to react more acutely to any changes. That's just after two hours of timing and reveal us the characters of the characters who utter profound dialogues. It turns out, "Solaris" is a film-meditation in which the prepared spectator will be able to recognize and absorb the grandiose multi-faceted meaning of the narrative.

Fantastic-existential parable

"Stalker" is a film-parable by Andrei Tarkovsky, combining simplicity and clarity of form (using elements of Russian fairy tales) with philosophical background and amazingly complex depth of thought. The external plot of the picture is an excursion to the Zone, where supposedly there is a magic room that performs any desires (a steady fairy tale motive). But the narrative reveals a bottomless and, accordingly, complex metaphorical overtones. "Stalker" - a film about the search for happiness, the sacred quest for faith. At the end, the plot seems to be unraveled, but it is false. The magic room is an artistic metaphor, in fact the characters are busy searching for themselves - this is the main thing.

"Boris" Tarkovsky - the world of ideas-images

Andrei Tarkovsky in 1983, put on the stage "Covent Garden" opera Mussorgsky "Boris Godunov." Thanks to the scrupulous efforts of London's like-minded Tarkovsky - a creative group of artists and directors - in 1990, she revived in St. Petersburg. In the operatic staging of Tarkovsky, the tragedy of the Tsar and the tragedy of the people were drawn to each other as tightly as ever.