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Andrei Rublev
(1966)
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Cast
| Credited cast: | |||
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Anatoliy Solonitsyn | ... |
Andrei Rublyov
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Ivan Lapikov | ... |
Kirill
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Nikolay Grinko | ... |
Danil Chorny
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Nikolai Sergeyev | ... |
Theophanes the Greek
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Irma Raush | ... |
Idiot girl (Durochka)
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Nikolay Burlyaev | ... |
Boriska
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Yuriy Nazarov | ... |
The Grand Prince /
The Lesser Prince
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Yuriy Nikulin | ... |
Monk Patrikey
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Rolan Bykov | ... |
The jester
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Nikolai Grabbe | ... |
Stepan
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Mikhail Kononov | ... |
Foma
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Stepan Krylov | ... |
Head Bell-founder
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Irina Miroshnichenko | ... | |
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Bolot Beyshenaliyev | ... | |
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K. Aleksandrov |
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Plot Summary
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Add Synopsis
Storyline
Andreiv Rublev charts the life of the great icon painter through a turbulent period of 15th Century Russian history, a period marked by endless fighting between rival Princes and by Tatar invasions. Written by L.H. Wong <as9401k56@ntuvax.ntu.ac.sg>
Parents Guide:
View content advisory »
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Details
Country:
Soviet UnionRelease Date:
1973 (USA) See more »Also Known As:
Andrei Rublev See more »Box Office
Budget:
RUR 1,000,000 (estimated)Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
| (re-edited) | (re-edited) | (2004 re-release) | (original length) | (UK) | (Blu-ray)Sound Mix:
MonoAspect Ratio:
2.35 : 1
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Did You Know?
Trivia
The Andronikov Monastery was located in the Taganka region of Moscow and was built in 1360 on the eastern bank of the Yauza River as part of Moscow's outer defensive ring of monastery-fortresses. Its name is derived from that of its of its first abbot (Andronik). The monastery's most famous monk was Andrei Rublyov. See more »Goofs
The smoothly-cut logs that feature many times in the early scenes are clearly cut with machinery not available in the early C15th. See more »Quotes
Kirill: Rejoice, O young man, in thy youth and the thy heart cheer thee in the days of thy youth. Walk in the ways of thine heart, and in the sight of thine eyes but know that for all these God will bring thee into judgment. Remember now thy Creator in the days of thy youth before the difficult days come and the years draw nigh when thou shalt say "I have no pleasure in them." Remember thy creator before the silver cord be loosed, or the golden bowl be broken or the pitcher shattered at the fountain or...See more »
"Andrei Rublev" is not merely my favourite all-time film; it transcends such pat, by-the-numbers praise. I have seen "Andrei Rublev" three times (twice on the big screen), at three very different points in my life. Each viewing, it has spoken eloquently and directly, has immersed and fascinated me. And has moved me with superlative skill and force. Other great movies have entertained me, inspired me, made me think; only "Rublev" has palpably altered my outlook on life.
Andrei Rublev was a medieval Russian iconographer; the film chronicles his struggle to maintain faith and artistry in a world of immeasurable cruelty and suffering. Rather than give us a crackerjack plot line with all the proper scene climaxes & paradigm shifts, director Tarkovsky presents us with a world in which we must immerse ourselves; once we are inside, we are confronted with rigorous pain and profound triumph. The movie is divided into chapters; the final one, involving an orphaned bell-maker's son, is a stunning film-within-a-film that provides a microcosm of the whole movie. That section, if it stood alone, would be my all-time favourite film.
Be warned: "Andrei Rublev" is SLOW. You have to slide into it; it's not a flick which dazzles, it is a world which beguiles, and which demands to be inhabited. Also, there are EXTREMELY difficult scenes to watch--torture and bloodshed abounds. Watching the Tartar attack on a Russian town is the most painful experience I've ever had--not just in a cinema, but in life.
For those willing to make the gruelling trek, however, "Andrei Rublev" is an inspiring, life-affecting experience. Created under an oppressive Soviet regime (which banned the film for years, recognizing its symbolic commentary on 20th-century Soviet government), the film shows how life can be valuable and even joyful, no matter how much suffering stands in the way.
Especially recommended for Tarkovsky fans, Dostoevsky fans, fans of medieval art, and anyone grappling with questions about suffering and human expression.