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Andrei Rublev

Original title: Andrey Rublyov
  • 19661966
  • RR
  • 3h 25m
IMDb RATING
8.1/10
54K
YOUR RATING
Andrei Rublev (1966)
Watch Official Trailer
Play trailer1:39
1 Video
99+ Photos
BiographyDramaHistory
The life, times and afflictions of the fifteenth-century Russian iconographer St. Andrei Rublev.The life, times and afflictions of the fifteenth-century Russian iconographer St. Andrei Rublev.The life, times and afflictions of the fifteenth-century Russian iconographer St. Andrei Rublev.
IMDb RATING
8.1/10
54K
YOUR RATING
    • Andrei Tarkovsky
    • Andrey Konchalovskiy
    • Andrei Tarkovsky
  • Stars
    • Anatoliy Solonitsyn
    • Ivan Lapikov
    • Nikolay Grinko
    • Andrei Tarkovsky
    • Andrey Konchalovskiy
    • Andrei Tarkovsky
  • Stars
    • Anatoliy Solonitsyn
    • Ivan Lapikov
    • Nikolay Grinko
  • See production, box office & company info
    • 193User reviews
    • 121Critic reviews
  • See more at IMDbPro
    • Awards

    Videos1

    Official Trailer
    Trailer 1:39
    Watch Official Trailer

    Photos152

    Ivan Lapikov in Andrei Rublev (1966)
    Nikolay Kutuzov and Ivan Lapikov in Andrei Rublev (1966)
    Andrei Rublev (1966)
    Andrei Rublev (1966)
    Andrei Rublev (1966)
    Andrei Rublev (1966)
    Andrei Rublev (1966)
    Andrei Rublev (1966)
    Andrei Rublev (1966)
    Anatoliy Solonitsyn in Andrei Rublev (1966)
    Nikolay Sergeev and Anatoliy Solonitsyn in Andrei Rublev (1966)
    Andrei Rublev (1966)

    Top cast

    Edit
    Anatoliy Solonitsyn
    Anatoliy Solonitsyn
    • Andrey Rublev
    Ivan Lapikov
    Ivan Lapikov
    • Kirill
    Nikolay Grinko
    Nikolay Grinko
    • Daniil Chyornyy
    Nikolay Sergeev
    Nikolay Sergeev
    • Feofan Grek
    Irina Tarkovskaya
    Irina Tarkovskaya
    • Durochka
    • (as Irma Raush)
    Nikolay Burlyaev
    Nikolay Burlyaev
    • Boriska
    Yuriy Nazarov
    Yuriy Nazarov
    • Velikiy knyaz, Malyy knyaz
    Yuriy Nikulin
    Yuriy Nikulin
    • Patrikey, monakh
    • (as Yu. Nikulin)
    Rolan Bykov
    Rolan Bykov
    • Skomorokh
    • (as R. Bykov)
    Nikolay Grabbe
    Nikolay Grabbe
    • Stepan, sotnik Velikogo knyazya
    • (as N. Grabbe)
    Mikhail Kononov
    Mikhail Kononov
    • Foma, monakh
    • (as M. Kononov)
    Stepan Krylov
    Stepan Krylov
    • Starshiy liteyshchik
    • (as S. Krylov)
    Bolot Beyshenaliev
    Bolot Beyshenaliev
    • Tatarskiy khan
    • (as B. Beyshenaliev)
    B. Matysik
    • Pyotr
    Anatoliy Obukhov
    Anatoliy Obukhov
    • Aleksey, monakh
    • (as A. Obukhov)
    Vladimir Titov
    • Sergey
    • (as Volodya Titov)
    Nikolay Glazkov
    • Efim
    • (as N. Glazkov)
    K. Aleksandrov
      • Andrei Tarkovsky
      • Andrey Konchalovskiy
      • Andrei Tarkovsky
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      For the scene where the cow is on fire, it was covered in an asbestos coat that protected it from actually being burned. But for the scene where the horse falls down the stairs, it was shot in the neck by director Andrei Tarkovsky. The crew acquired the horse from a slaughterhouse where it was going to be shot the next day.
    • Goofs
      In the final scene, set in 1424, Rublev vows to paint an icon of the Trinity. This icon was executed in 1410, 14 years earlier.
    • Quotes

      Andrei Rublyov: You just spoke of Jesus. Perhaps he was born and crucified to reconcile God and man. Jesus came from God, so he is all-powerful. And if He died on the cross it was predetermined and His crucifixion and death were God's will. That would have aroused hatred not in those that crucified him but in those that loved him if they had been near him at that moment, because they loved him as a man only. But if He, of His own will, left them, He displayed injustice, or even cruelty. Maybe those who crucified him loved him because they helped in this divine plan.

    • Alternate versions
      When released in the UK, the sight of a horse falling off a staircase was cut from this title.
    • Connections
      Edited into Ombres vives ...une autre histoire du cinema... (2013)

    User reviews193

    Review
    Review
    Featured review
    8/10
    "You'll cast bells, I'll paint icons"
    Just as Andrei Rublev faced doubt about whether or not, having sinned, he could continue his celebrated iconography, I likewise find myself in two minds about Andrei Tarkovsky's film. My experience with the director's other work is, as usual, limited, but I still couldn't shake that persistent expectation that I would love 'Andrei Rublev (1969).' There is certainly much to love about it, but my appreciation for the film can best be described as admiration rather than affection, and, though I can speak with only the utmost praise for Tarkovsky's achievement, it doesn't occupy that exclusive space close to my heart. The film is a deeply-personal religious work, an examination of faith and moral values, and so perhaps it's inevitable that the film didn't leave such a deep impression, considering my preference towards atheism; one unfortunately cannot discard all personal convictions for the mere purposes of appreciating a work of art. I do, however, like to think that the majesty of cinema, in most cases, is able to transcend religious boundaries.

    Andrei Tarkovsky released his first feature-length film, 'Ivan's Childhood,' in 1962. Even prior to its release, the director had already expressed interest in filming the life of great Russian iconographer Andrei Rublev, even though very little is actually known about his life. Working with a screenplay written by himself and Andrei Konchalovsky, Tarkvosky began filming in 1964, and a 205-minute cut was screened for a private audience in Moscow in 1966. The critical response, however, was mixed, and sizeable cuts were made to the film's running time, before a 186-minute version screened out of competition at the Cannes Film Festival in 1969. I'm not entirely sure which version I ended up watching; the time counter indicated somewhere around 165 minutes, though my brief research couldn't uncover any major missing sequences. In hindsight, I should probably have held out for longer and acquired the Criterion Collection DVD, which restores the picture to its four-hour glory. In several years' time, when I inevitably decide to revisit Tarkovsky's film, I'll make certain to do just that.

    'Andrei Rublev' is divided into nine distinct segments, including a colour epilogue displaying Rublev's weathered icons as they exist today. They each explore a facet of the great painter's life, placing particular emphasis on his faith in God and how it relates to his work on frescos and icons. Interestingly, though Rublev (Anatoli Solonitsyn) himself appears in most of the stories, he is often hidden in the background, a passive observer on the behaviour of others, including Kirill (Ivan Lapikov), who is jealous of Rublev's recognition, and young Boriska (Nikolai Burlyayev), who successfully casts a bell using faith rather than knowledge. One consequence of this narrative format is a lack of cohesiveness in Tarkovsky's storytelling. We adequately follow the plot of each segment, but, as the whole, the film doesn't seem to build towards any notable climactic revelation – the completed film is equal to the sum of its parts, which is still very impressive, but pulls it short of being a masterpiece. Once again, however, I must acknowledge that the 205-minute version may potentially correct this problem.

    One statement that can not be disputed, however, is that 'Andrei Rublev' really is a beautiful piece of film-making. Vadim Yusov's black-and-white photography captures the exquisite delicateness of nature with almost heartbreaking intricacy; even the raindrops of a midday shower are imbued with the gentle elegance of the Heaven from which they ostensibly fell. Tarkovsky finds simple beauty in the quiver of a tree branch in the breeze, the leisurely flow of a river, herds of livestock fleeing from an aerial balloon. In portraying the complete opposite, the destruction of nature, the director is capable but not quite the master he is otherwise. The raiding of Vladimir by a troop of Tatars was obviously supposed to be the centrepiece of the picture, but Tarkovsky underplays every detail to such an extent that his "chaos" ultimately winds down into a staged conflict. Compare this sequence with Sergei Bondarchuk's burning of Moscow in 'War and Peace (1967),' in which one feels as though he has descended into the fires of Hell, and the contrast is telling.
    helpful•18
    4
    • ackstasis
    • Jul 25, 2008

    Details

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    • Release date
      • October 1973 (United States)
      • Soviet Union
      • Russian
      • Italian
      • Tatar
    • Also known as
    • Filming locations
      • Assumption Cathedral of the Dormition, Vladimir, Russia
    • Production companies
      • Mosfilm
      • Tvorcheskoe Obedinienie Pisateley i Kinorabotnikov
    • See more company credits at IMDbPro

    Box office

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    See detailed box office info on IMDbPro

    Technical specs

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    • 3 hours 25 minutes
      • Black and White
      • Color
      • Mono

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