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Andrei Rublev (1966)

Andrey Rublyov (original title)
Not Rated | | Biography, Drama, History | 1973 (USA)
The life, times and afflictions of the fifteenth-century Russian iconographer.

Director:

(as Andrey Tarkovskiy)

Writers:

(as Andrey Mikhalkov-Konchalovskiy), (as Andrey Tarkovskiy)
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3 wins. See more awards »
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Cast

Cast overview, first billed only:
...
...
Kirill
Nikolay Grinko ...
Daniil Chyornyy
Nikolay Sergeev ...
Feofan Grek
Irina Tarkovskaya ...
Durochka (as Irma Raush)
...
Yuriy Nazarov ...
Velikiy knyaz, Malyy knyaz
Yuriy Nikulin ...
Patrikey, monakh (as Yu. Nikulin)
Rolan Bykov ...
Skomorokh (as R. Bykov)
Nikolay Grabbe ...
Stepan, sotnik Velikogo knyazya (as N. Grabbe)
Mikhail Kononov ...
Foma, monakh (as M. Kononov)
Stepan Krylov ...
Starshiy liteyshchik (as S. Krylov)
Bolot Beyshenaliev ...
Tatarskiy khan (as B. Beyshenaliev)
B. Matysik ...
Pyotr
Anatoliy Obukhov ...
Aleksey, monakh (as A. Obukhov)
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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>

Plot Summary | Plot Synopsis


Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| |

Release Date:

1973 (USA)  »

Also Known As:

Andrei Rublev  »

Box Office

Budget:

RUR 1,000,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(re-edited) | (re-edited) | (2004 re-release) | (original length) | (UK) | (Blu-ray)

Sound Mix:

Color:

(Sovcolor)|

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Vasiliy Livanov claims to be the one who suggested the idea for the film. He also wanted to play the lead, but director Andrei Tarkovsky wanted to cast the previously unknown actor Anatoliy Solonitsyn. 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

Andrei Rublyov: I am what I am. You couldn't teach me integrity.
See more »

Crazy Credits

There are no end credits, not even a 'THE END' title. The film fades to black after the final shot. See more »

Connections

Referenced in The Mirror (1975) See more »

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User Reviews

 
Knowledge as an Impediment
12 April 2002 | by (Virginia Beach) – See all my reviews

I follow several threads of fine films. Most of these concern intelligent notions of structure, of architecture. Welles, Greenaway, Eisenstein, Kurosawa. These mend sense and intellect enhancing both.

But there is another thread, one that eschews selfaware structure -- where idea is anathema. Nature is celebrated. Rich intuition and meditative spontaneity are sufficiently nutritious in some hands, but these are amazingly few. The so-called 'new wave' tried it, at least initially. Lots of other appearances as well, mostly failures, some lovely. Among the attempts, I know of only two filmmakers who have mastered this tricky approach of avoiding knowledge: Tarkovsky and Malick. Of these, Malick is more abstractly sensual.

After all, Tarkovsky must deal with that dark cloth of Russian self-pity, that tradition of grand themes and epic fate, something which does not burden Malick. So the metaphoric content is heavy. That's fine, an acceptable skeleton for a nearly three hour meditation. All is self-referential: a set of images about an imagemaker: the actor's wife played the retarded girl who factors so importantly. During the production he was cheating on her with who was to become his second wife. The girl goes off with a Tartar, leaving Rublev. Many other scenes refer to Rublev's situation, resolved by Tarkovsky's action. For instance, we have a sequence where Rublev hesitates to paint a scene of fateful pain. This is followed by Tarkovsky doing just that. The extension of metaphor among parts of the film (ballooner and bellringer to Rublev's story) extends from the film to the filmmaker and thence from him to us.

What I found even more interesting was his confidence in complex compositions and long, long multiperspective tracking shots. Compared to other swoopers, this camera seems curious, impetuous, not at all as if the shots were planned. Hard to believe it is only his second feature. This alone expands one's imagination with only a couple viewings, but combined with the notion of folded metaphor (including visual metaphor) it becomes a truly great and singular work.

(Some classical symmetries touch multiple places: a jester within the play; solitude in the context of relationship; creating in the unknown; broken symmetry through one twin killing another. Some new ones: pagan fire and water underlying ritual exuberance, either sex or religious art.)

Alas, the DVD has a discouragingly vapid commentary. But then I guess that's the whole point, and with the loss of potatohead Soviets, we need to substitute the next best thing.


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