Read More ». Dedicated to the 80th anniversary of the director. What started off for Tarkovsky as a planned series of interviews with his own mother evolved into a lyrical and complex circular meditation on love, loyalty, memory, and history. Nostlaghia represents a further refinement of Tarkovsky's style after the chaos of the previous production, completely freed from the constraints of the Soviet bureaucracy, and still yearning for meaning.
Amyth47 25 October No story, horrible dialogues and completely boring. Just no. Skip this for the sake of your sanity. Everybody who has seen some Tarkovsky movies knows that a thrilling plot is not to be expected. However with "Nostalgia" Tarkovsky seems to outperform himself in this respect. Maybe this is the reason that "Nostalgia" is the least viewed and least reviewed film of the Tarkovsky oeuvre. I saw some clips with an interpretation of the movie that had a longer running time than the film itself!
The only thing that is petty clear is that "Nostalgia" is a film about homesickness. The film presents this in three layers. The main character Andrei played by Oleg Yankovsky is a Russian writer who does research in Italy about the 18th century Russian composer Pavel Sosnovksy framed after the real composer Maksim Berezovsky who was studying opera in Italy.
Sosnovsky was homesick, as is Andrei a couple of century's later. The third layer is Tarkovsky himself. In this respect "Nostalgia" has a strong autobiographical element. The film has two other main characters, the translater Eugenia Domiziana Giordana and the eccentric Domenico Erland Josephson. The clips I refered to above had al sorts of profound thoughts about their meaning, but for me it was not obvious at all. At one point in the dreams of Andrei Eugenia met with his Russian wife.
This reminded me very much of "Persona" , Ingmar Bergman. Domenico is the fool of the village, but is he real a fool? In general the function of the character of Johannes was more clear to me than that of Domenico. Nevertheless there is one wonderful scene with Domenico. Domenico has kept his family inside his house for seven years because he is expecting the end of the World.
After they are freed by local police his young son runs away and Domenico runs after him. In the beginning of the scene it is obvious that Domenico is trying to catch the boy.
After a while this hunt gradually evolves in accompanying the boy in his voyage of discovery. A very beautiful scene indeed. The way to appreciate "Nostalgia" may be to give up explaining and to start enjoying the beauty of the images. Images often with a lot of fog and certainly not the images you would find in a tourist travel guide of Tuscany, but beautiful all the same.
Perhaps the most well known image is the one at the end of the film in which a wooden house Russian style turns out te be enclosed by the ruins of an Italian cathedral. An image also summing up the main theme of the film. Tarkovsky, drowning in nostalgia. ThreeSadTigers 29 December Nostalgia is essentially a dream play that opens with a hazy, monochromatic vision of tranquil reflection, which, not only establishes the core themes behind the film's title, but also, informs the key emotional sequences that are here revisited by the central character throughout.
As a result of this, the film is as much about the feelings of loss and longing as it is about the lead character, the homesick Russian poet Andrei Gortchakov, who is exiled in Italy with his guide and translator Eugenia on a research mission into the life of a long-forgotten, 18th century composer. In the hands of any other filmmaker, this plot would give way to a series of grand adventures and curious revelations, but, as we've seen in other films, like the majestic Mirror and Andrei Rublev, Tarkovsky is a filmmaker unconcerned with the external world of the film, who, instead, turns his attentions inward, to chronicle the internal angst and emotions at the heart of these tortured, complicated souls.
As is always the case with Tarkovsky's work, it could be argued that the film has further shades that somehow draw parallels with the filmmaker's own life and works; with the exiled main character here becoming the cinematic voice for Tarkovsky's own feelings of loss and nostalgia during the making of this film.
Because of this, the cinematic depiction of the small Italian village where the film takes place is one of the gloomiest and most barren creations ever presented, especially in comparison to the kind of lush, summery vistas that we're used to seeing from this particular, geographic region. The locations used are desolate, dilapidated, over-run with moss and ivy, and swept in a constant haze of fine rain and morning fog, which allows the filmmaker to create a number of slow and haunting visual meditations that further the actual plot As is always the case with Tarkovsky, the visual design of the film is meticulously created and deeply hypnotic, with the production design creating an emotional labyrinth for the characters, which is then, rigorously explored by the camera.
The use of cinematography is always an important factor is Tarkovsky's work, because it is so vital in creating and then distinguishing between these varying layers of reality, fantasy, memory and premonition - with the filmmaker employing a variety of techniques, from cross cutting between sepia-tone and defused colour, and the juxtaposition between regular speed and slow motion. The use of those slow, mesmerising zooms bringing to mind Kubrick's masterpiece Barry Lyndon and those complicated tracking shots only add to the lingering tension and escalating melancholy that is perfectly established throughout the film's lethargic first act.
The film is deliberately slow, like the majority of this filmmaker's work, with the camera moving at it's own pace in order to linger and meditate on certain images and moments.
The editing too is deliberate in it's pace, with a number of scenes unfolding with a minimum of two to three cuts per scene Tarkovsky always allowing the slow movement of the camera to do much of the work normally covered by the editing , which can, on occasion particularly the first viewing , become quite tiresome. It does, nonetheless, ultimately tie in with the inner feelings and emotions so synonymous with the title and, is integral to the inner pain felt by our central characters.
Into the mix of things we also get a dose of the mystical, supplied here by the character of Domenico, another tortured soul who's back-story involves keeping his family hostage for a prolonged number of years under fear that the world would end. Domenico, like Gortchakov and indeed, Tarkovsky , is another one of those haunted souls, inhabiting an earth they don't really understand, whilst questioning their place in the world and the world within the cosmos.
Towards the end of the film, Domenico will rant atop a statue about all manner of deep theoretical issues, before Tarkovsky launches into two of the most astounding sequences he ever created. The first is a brutal and literally jaw-dropping act of emotional and physical catharsis set to the strains of a distorted Beethoven , whilst the other is a long and slow meditation on fate and probably the most iconic scene in this film , involving an empty pool, a lighted candle, and a weary, heartbroken Gortchakov.
Nostalgia is a deep and thoughtful film, best suited to those viewers who are interested in spending some time with a film that takes a great deal of time to fully reveal it's self. Like the majority of Tarkovsky's films, it is bleak, dreamlike and hypnotic, in the way in which the images just linger on the screen, waiting to be decoded.
Some might be frustrated by the slow pace and the reliance on character over narrative, however, if you are an admirer of Tarkovsky's best films, like Andrei Rublev, Mirror and The Sacrifice, then you'll be sure to find something of interest here. The director uses the main character to show us his own thoughts, memories, and obsessions in a stream of consciousness kind of way.
The film is painfully slow and self-indulgently rehashes motifs already glimpsed in Tarkovsky's previous works, yet it is packed with memorable images and breathtakingly beautiful locations. Interesting how spaces are used to express the character's alienation and loneliness - we will rarely see two people in the same shot, and even in those rare times, they will always keep an unnatural distance. While I enjoyed the visuals, the script felt like the weak link in the chain, with bloated monologues and pseudo-intellectual conversations, even though t's also true that the wooden Italian dub didn't really help in that sense.
Masterpiece Gary 2 February Apparently even Tarkovsky described this film as 'tedious', so you can imagine what it's like to be on the receiving end. But for some reason I don't find it so, although there is the occasional longuer. It's one of the great films of cinema, although certainly rather odd. Once again it has an impossibly glamourous Russian wandering about looking moody, engrossed in the big issues.
In fact, the female lead falls for him and is exasperated by his absurd interest in a local derelict. She flashes a tit in erotic frustration which is unusual for Tarkovsky, he seems unwilling to really engage in issues of sexuality, preferring them to be chaste in an almost victorian manner.
Certainly there was some accusations of a reactionary attitude to women, for at the start of the film a priest tells the guide that she should sacrifice herself for the sake of raising children.
She is made to look rather absurd in the film, but in truth, so do the male characters. Perhaps it was due to cultural traditions in Tarkovsky's background rather than deliberate misogyny. The Italians didn't take to this film as it did not film Italy in a vibrant manner, preferring to evocate the alienation and melancholia of it's Russian lead. Tarkovsky's brilliance as a director is well illustrated in the film where the Russian and the old man talk in a room.
The camera seems to turn a full degrees although you don't notice it. The way his characters and objects seem to float in and out of frame is amazing. It's strange, but nature seems to perform for Tarkovsky. Even the animals seem willing to be directed, a dog staring straight into the camera with an almost unearthly and uncanny presence and stillness.
The scene where the Russian lies on his hotel bed and his nostalgia conjurs up his dog in a dream like but also tangibly real manner is powerful and haunting. The problem with this film is that the lead character was not really in exile and could go home anytime, unlike Tarkovsky himself, so why was he in so much pain? Is it mere homesickness as opposed to the real longing for one's homeland rightly belonging to the truly disenfranchised?
But perhaps that is not the issue, more that when man finds himself and true wisdom, is it too late in the day for him to use what he has learned? The self sacrifice of the old man is a return to an old theme of Tarkovsky's that perhaps only shame can save mankind. There are many eccentric aspects to this film, for instance the Russian wandering around up to his waist in water.
Also there is a brief and bizarre shot of an angel stomping around outside a house. As it's Tarkovsky you don't burst out laughing. Perhaps he reaches the parts other directors cannot reach. But there are also some vividly beautiful moments.
The doves being released in the church, and the light filtering through a stream of water in a gutted house. Towards the end of his career, Tarkovsky began to question the rigid criteria he used in shooting a film in a way he felt won purity and aschewed the vulgar and trivial, but I think he got it right here. A marvelous film. No, you can't. Tarkovsky is the ultimate art filmmaker and he demonstrates it again in this great picture, I would say, his best picture that he made outside of Russia.
The other one The Sacrifice is also great, but I would prefer this over The Sacrifice, which is a picture that sacrifices a bit too much of Tarkovsky trademarks such as being a picture driven by images, instead dialogue takes center stage. Here, by contrast, we have a picture that is driven mostly by images, hence, being a highly original and powerful exercise of film-making. The film also has a deeper plot than The Mirror, though it is still not a plot driven film like Solaris.
It shows the influence of The Mirror on Tarkovsky films: before he made The Mirror, his films were still slightly more conventional but after they became much more avant garde and audacious. This film is essential for film buffs and I might say it is perhaps one of the top greatest films ever made. Chaves 3 January At the first and poor look, the movie is one of the most boring and low movies that i have seen.
But, if you really watch it The film is about a Russian writer that want finds in Italy about a famous musician of later centuries. But he founds more than he wants. If the movie is slow, is because there is no a different way to show the most deep of the soul of a human been. And this poetic representation is the why "Nostalghia" is a masterpiece, "Nostalghia" is more than anything, an spiritual film. A film that explores the contemporary culture since the point of an artist.
Is too a reflection and that is one of the most spectacular things that the film have of the world and people that control it. Domenico's character, a man who has faith Faith, look that important word, faith that for the others, the man is crazy. The man is just any other waste of a group of crazy humans. And Domenico tell us that this world is controlled by people who proclaims it self like "people that this well of the head", and for that reason, the world is a "wonderful" one.
And we see that the world is good, but too has wars, death and injustices. This timely story is terrifying and yet filled with eccentric characters and moments of humour, vividly depicting the consequences of war and the incredible bravery of those trying to clear up the mess.
Read More ». This director is simply incredible. But he did it, and it was great! So then, would a shorter film in the same format be easier to make? You might think so.
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