The Russian poet Andrei Gorchakov, accompanied by guide and translator Eugenia, is traveling through Italy researching the life of an 18th-century Russian composer. In an ancient spa town, ... See full summary »
During World War II, 12-year old Ivan works as a spy on the eastern front. The small Ivan can cross the German lines unnoticed to collect information. Three Soviet officers try to take care... See full summary »
Like the Russian poet of 'Nostalghia', who, accompanied by his Italian guide and translator, traveled through Italy researching the life of an 18th-century Russian composer, Andrei ... See full summary »
The Russian poet Andrei Gorchakov, accompanied by guide and translator Eugenia, is traveling through Italy researching the life of an 18th-century Russian composer. In an ancient spa town, he meets the lunatic Domenico, who years earlier had imprisoned his own family in his house for seven years to save them from the evils of the world. Seeing some deep truth in Domenico's act, Andrei becomes drawn to him. In a series of dreams, the poet's nostalgia for his homeland and his longing for his wife, his ambivalent feelings for Eugenia and Italy, and his sense of kinship with Domenico become intertwined. Written by
Anonymous and Brian McInnis
This was Andrey Tarkovsky's first film directed outside of the USSR. It was supposed to be filmed in Italy with the support of Mosfilm, with most of the dialogue in Italian. When Mosfilm support was inexplicably withdrawn, Tarkovsky used part of the budget provided by Italian State Television and French film company Gaumont to complete the film in Italy and cut some Russian scenes from the screenplay, while recreating Russian locations for other scenes in Italy. See more »
Where am I when I'm not in reality or in my imagination? Here's my new pact to the world: it must be sunny at night and snowy at August. Great things end, small things endure. Society must become united again instead of so disjointed. Just look at nature and you'll see that life is simple. We must go back to where we were to the point where you took the wrong turn. We must go back to the main foundations of life without dirtying the water. What kind of world is this if a madman tells you must ...
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Before the end credits: To the memory of my mother. - Andrei Tarkovsky See more »
Tarkovsky being pretentious is like Lucas using CGI; but he is undoubtedly a genius - because of his other films. In Andrei Rublev, you can see his sheer hard work: events unfold before your eyes - the balloon, the clown, the orgy, the raid, the awesome bell - all these scenes are masterpieces. Solaris has the mood and sets done just right, which causes an overwhelming uneasiness in the viewer.
Nostalghia has nothing of the sort. I actually didn't mind the last couple of scenes - the immolation and the candle. It was the rest of the movie that was - how shall I put it - duller. Tarkovsky is just being lazy here. Not only has he given up any attempt at hard work, he repeats and re-repeats himself - from his own other movies and then within this movie itself.
The scenes of things under water - done in Andrei Rublev. The family life scenes (including ending) - same as Solaris. Rain inside house - cf snow inside church in Rublev. Philosophical conversations about the same old topics - done better in Rublev. Fog - done in Solaris. Unblinking closeup of painting - you get the idea. Even the immolation reminds of the cow being set on fire in Rublev. There is little that's original here - the baths, the candle scene. That's about it.
If this is your first Tarkovsky you might like it better. But this is a pretentious, unoriginal, tired work with few redeeming qualities.
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