Andreï Tarkovski (in Cyrillic Андре́йАрсе́ньевичТарко́вский) is a Russian realizer born the April 4th 1932 with Zavraje (Russia) province from Ivanovo on the the Volga and died the December 28th 1986 with Paris of a Lung cancer.

Biography

Wire of the poet Arseni Tarkovski, he studies the music, painting, the sculpture, the Arab ; work as geologist in Siberia. In 1956 only, it enters to VGIK (central Institute of the cinema of the USSR), with Moscow. It follows there during four years the class of Mikhaïl Romm, of which it says: “ This Master learned how to me to be myself. ” In 1960, it carries out its film of end of studies: the Road roller and the violin .

Its tinted work of Mysticisme is one of most original cinema of the 20th century. Andreï Tarkovski is often regarded by the critic as one of the Masters of the 7th Art to equal of Ingmar Bergman, Robert Bresson, Michelangelo Antonioni or Federico Fellini. The expensive topics with Tarkovski are the presence of the ground, the loneliness of the beings and their dreams, spirituality.

He dies of the continuations of a cancer the December 28th 1986 with Neuilly-sur-Seine (France). He is buried with the orthodoxe Russian cemetery of Holy-Genevieve-of-Wood.

Quotations

“ That which betrays its principles only once loses the purity of its relationship to the life. To cheat with oneself, it is to give up all, its film, its life. ” Andrei Tarkovski.

“ the connection and poetic logic with the cinema, here what interests me. And isn't this what is appropriate best for the cinema, of all arts that which with the greatest capacity of truth and poetry? ” Andrei Tarkovski, Time sealed .

" The cinema, it is art to carve the temps" Andrei Tarkovski " Scellé" Time;

“ the image is not any idea expressed by the realizer, but a whole world gleamed in a water drop. ”, Andrei Tarkovski

Work

“ When I discovered first films of Andrei Tarkovski, it was for me a miracle. I was, suddenly, in front of the door I missed whose hitherto key. A room where I had always wanted to penetrate and where itself felt perfectly at ease. I live myself encouraged and stimulated: Somebody had just expressed what I had always wanted to say without knowing how. If Tarkovski is for me largest, it is because it brings to the cinematograph, in its specificity, a new language which enables him to seize the life like appearance, like thinks ”.

- Ingmar Bergman -

The cinematographic work of Andrei Tarkovski is incontestably the incarnation of a philosophy, the support of a thought of an artist, deployed in the sphere of the visible one: the Cinema. This Russian Genius is, before being a philosopher of the image, the visual one, an artist of the feeling which, before the reading, “the analysis” of work, manages to precipitate the spectator in a body, active and spiritual movement. Tarkovski arrives at going in the two directions: Either one can be touched by the grace of the beauty of his Cinema and then thus to deepen and seek to include/understand what he wants to say to us, or on the contrary, by what he says to us (or says what in spite of him, us), the access to the emotion is done.

But what Tarkovski wanted was not to render comprehensible themselves of the public but to be able to seize it, the touch by the grace and then only by after, to propose its opinions or ideas: " I will like that those which are in agreement with my remarks, even partially, become for me allies, soul mates " and it is on this word that it closes its Temps Sealed , work multiplying reflections on the world and the cinema. One could be tried to say that the largest scenario writers are the philosophical scenario writers and that Tarkovski thus appears as one of the largest realizers of the world since it managed to express the inexpressible one: absolute. From this point of view there, Stalker is shown then as one of central works of work tarkovskienne since the Zone can be seen like the incarnation of the absolute and that just like Stalker, Tarkovski tries to aim it with the “poetic logic” which gives birth to the hope, the faith in the absolute. One could not speak about pessimism and optimism at Tarkovski since for him, these two “concepts” did not exist (“ a pessimist is a quite informed optimist ” liked he to be repeated) and that only the hope was “true”: “ the hope is the characteristic of the Man ” writes the scenario writer in Sealed Time.

Tarkovski almost manages to make us believe in a God or at least to give again us faith in this world because its Cinema which seeks to tend towards the perfection and spirituality is the expression of an absurd world whose suffering remains of an absolute mystery…. Why Andréï Roublev does it give again us T faith? For its final scene, good god, who it is beautiful! With this Genius, creator of bells, which rose since it had faith in its project, and Roublev, in front of the tears of the young teenager who takes again hope in his turn. Why Stalker does it give again us T faith? There too for its final scene, that where an young girl pushes her eyes water glass: science (thus the rational one: the outside world, the scientist) is not able to show the impossibility of the miracle and thus the existence of God. And this bird which flies away with the hand of the patient of the Mirror? For Tarkovski, the success of the Childhood of Ivan holds of the miracle: “ It is after having completed the Childhood of Ivan which I have the presentiment which the Cinema was with the range of the hand. A miracle had taken place: the film was successful. Something of other was now required of me: it was necessary me to include/understand what was the Cinema ”. “ I believe that the principal motivation of a person who goes to the cinema is a research of time: wasted time, neglected time, time to find. It there will seek an experiment of life, because the cinema like any art, widens, enriches, concentrates the human experiment. Than enriched more, its experiment is lengthened, lengthened considerably. Here where the true capacity of the cinema resides and not in the stars, the adventures or the distraction. And it is also why, with the cinema, the public is more a witness a spectator. Which is then the essence of the work of a realizer? To carve in time. Just like a sculptor, indeed, seizes a block of marble, and, conscious of its form to come, all extracts some that will not belong to him, in the same way the scenario writer seizes a " block of temps" , from an enormous mass of facts of the existence, all eliminates some which it does not need, and preserves only what will have to appear like the components of the cinematographic image. An operation of selection actually common to all arts ”.

With final, the work of Tarkovski is with the image of the ideal world that the scenario writer thinks, who will take form only when the Man becomes aware of his errors but Tarkovski relies faith, hope and on him, this world would combine the pillars of the world: philosophy, the Religion (" - I believe in Russia… in orthodoxy… in the Man… - And as a God? Do you believe in a God? - I… I will believe in a God " , splendid extracts from Possédés from Dostoïevski which expresses with wonder the current distress of the faith lost at the Man) and especially Art (“ If the artist exists it is because the world is not perfect ”) because as said Dostoïevski (preferred author of Tarkovski): “ Seule the beauty can save the world ”.

Catalog of films

See too

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