Excellent, haunting movie, with great actors, but it falls short of the book. This I suspect often happens when reading a book before seeing the film. The book, the Desert of the Tartars by Dino Buzzati is an allegory for a man life and destiny. A man's hope to greatness, to glory, to accomplish great deeds. But as time passes, greatness is never attained, glory never achieved. Most of us us settle down in our routine. Drogo full of youth and enthusiasm set up for Fort Bastiano, the fortress protecting the border of his country. With the passing of time the precise, monotonous routine in the fortress becomes his life. He returns to the city and to his fiancé, but the city life does not please him. This part of the book is never shown in the movie. He returns to the fortress with hope of greatness if the Tartars ever attack and the star of glory to defend his country will shine upon him. Time inexorably goes by. Rumors of sights of Tartars prowling in the desert below are just rumors. Drogo is, we are getting older. His health starts to fail. But there is still hope in his hearth that the enemy may come. Then suddenly the enemy comes. The Tartars are invading, the desert under Fort Bastiano is full of them, the war has started, and while Drogo is carried away a young inexperienced officer coming from the city will have the honor and the glory of defending his country. Drogo's carriage is taking him to the city below where the greatest of all Enemies is awaiting for him.
28 Reviews
Enigmatic and thoughtful, and all about the pointlessness of lives and careers
Terrell-413 September 2006
Warning: Spoilers
The Desert of the Tartars is an epic movie where nothing happens over 2 hours and 21 minutes...except to show us the gradual and fascinating disintegration of a group of military officers in an isolated outpost of empire who are full of pride and who lead lives as pointless as their careers. It helped me understand things better when I looked up the author, Dino Buzzati. His book was published in 1940 shortly after he had served some time in Ethiopia as Mussolini postured and killed his way to a new Roman empire. Many thought the book was a veiled reference to the sort of empty grandiosity Mussolini embodied. The book became widely available only after WWII.
Here we have a group of officers, none of whom have ever seen combat except for one who can barely move, awaiting an attack that may never happen, whose purpose in their lives can only come about through glorious battle. And some of these officers are convinced that some sort of activity far off in the desert can sometimes be seen. Can it be the ghosts and dreams of the long-ago Tartar invaders? They talk of the "enemy" as if it were some anonymous thing. The atmosphere is claustrophobic, with the lives of these men governed by punctilious manners and regulations. These are officers whose code of conduct has them practice fencing with each other while their men wait behind machine guns.
We see all this through Lieutenant Drogo (Jacques Perrin) who arrives at Fort Bastiano, a great hulking desert fortress made of mud brick, in 1907 on his first posting. "Beyond the fort there is a desert," he is told. "And then, nothing. The desert of the Tartars. They may even have crossed it, centuries ago, but they vanished after destroying the ancient city. The desert has kept their name. But the older that history is, the more men change it into legend. So we don't know what's true and what isn't."
In my view, the sad heart of the film is Captain Horvitz, played with great power by Max von Sydow. Years ago, Horvitz had seen the lights of the enemy, had given the alarm and no attack occurred. He has refused all opportunity to leave Fort Bastiano. Years pass and he becomes commanding officer. In time, he is sent away. "I hope you will be in command of the fort when the enemy will attack," he tells Captain Drogo as he prepares to leave, "and I know it will, even if I was ordered to ignore it. What nonsense and what disregard. I might have been useful in wartime. I'm so regretful. I waited for such a long time...without knowing why..."
Many officers we met with Lt. Drogo have died, become unbalanced, and in many cases have been simply sent away as their superiors gradually have reduced the strength of the fort. More time slips away and Drogo, now second in command, gray and ill, is in turn sent away from the fort. Drogo had become as fixated on Fort Bastiano and the "enemy" as Horvitz became....and yet now there seems there may be a genuine attack.
Yet, when Drogo was still new to the fort he was convinced that his posting was an error. The sympathetic doctor gives him a letter with a medical reason for a new assignment. "You are wise to leave," Doctor Major Rovin tells him. "I was sent here by mistake," Drogo tries to explain. "Here or elsewhere," Rovin tells Drogo, "we're all somewhere by mistake." This sense of passionless inevitability runs through the film.
One would think that nearly two-and-a-half hours of this would be tedious. It isn't. The director, Valerio Zerlini, explores some serious themes. Is there an enemy or not? Has the fort been purposefully weakened for unknown schemes? Where actually is the fort located? (It seems it takes only three days by horseback to reach the middle of the desert after leaving the green hills and valleys of Italy...or is it even Italy?) I don't think any of this matters. The film, for me, is an allegory of how easily men can slip into the pointlessness of duty, pride, obedience and glory. Well, this approach may be a bit existential, but we can make what we want of it as we see the progression of disintegration played off against the essential meaninglessness of these men's lives.
What helps the movie immeasurably are two other factors. First, there is a whole roster of first-rate, skilled European actors, all of whom know how to underplay. In addition to von Sydow, we have Vittorio Gassman, Helmut Griem, Philippe Noiret, Fernando Rey, Jean-Louis Trintignant and Giuliano Gemma, among others. Second, there is the looming presence of the desert and Fort Bastiano itself. Much of the film was shot in Iran in the ancient city of Bam. Fort Bastiano is actually Arg-e-Bam, the Citadel of Bam. The citadel and the ancient town next to it were built of mud brick and straw eons ago. When I saw the first shot of Fort Bastiano I thought I must be seeing some early version of Computer Generated Overkill. The Citadel of Bam was huge, towering over the ancient ruins. Tragically, a massive earthquake hit Iran in 2003 with Bam at the epicenter. The only thing remaining of the Citadel, literally, is a huge mound of clay-brick rubble. Iran says the Citadel will be rebuilt, but it will take years. It is a huge cultural loss.
Here we have a group of officers, none of whom have ever seen combat except for one who can barely move, awaiting an attack that may never happen, whose purpose in their lives can only come about through glorious battle. And some of these officers are convinced that some sort of activity far off in the desert can sometimes be seen. Can it be the ghosts and dreams of the long-ago Tartar invaders? They talk of the "enemy" as if it were some anonymous thing. The atmosphere is claustrophobic, with the lives of these men governed by punctilious manners and regulations. These are officers whose code of conduct has them practice fencing with each other while their men wait behind machine guns.
We see all this through Lieutenant Drogo (Jacques Perrin) who arrives at Fort Bastiano, a great hulking desert fortress made of mud brick, in 1907 on his first posting. "Beyond the fort there is a desert," he is told. "And then, nothing. The desert of the Tartars. They may even have crossed it, centuries ago, but they vanished after destroying the ancient city. The desert has kept their name. But the older that history is, the more men change it into legend. So we don't know what's true and what isn't."
In my view, the sad heart of the film is Captain Horvitz, played with great power by Max von Sydow. Years ago, Horvitz had seen the lights of the enemy, had given the alarm and no attack occurred. He has refused all opportunity to leave Fort Bastiano. Years pass and he becomes commanding officer. In time, he is sent away. "I hope you will be in command of the fort when the enemy will attack," he tells Captain Drogo as he prepares to leave, "and I know it will, even if I was ordered to ignore it. What nonsense and what disregard. I might have been useful in wartime. I'm so regretful. I waited for such a long time...without knowing why..."
Many officers we met with Lt. Drogo have died, become unbalanced, and in many cases have been simply sent away as their superiors gradually have reduced the strength of the fort. More time slips away and Drogo, now second in command, gray and ill, is in turn sent away from the fort. Drogo had become as fixated on Fort Bastiano and the "enemy" as Horvitz became....and yet now there seems there may be a genuine attack.
Yet, when Drogo was still new to the fort he was convinced that his posting was an error. The sympathetic doctor gives him a letter with a medical reason for a new assignment. "You are wise to leave," Doctor Major Rovin tells him. "I was sent here by mistake," Drogo tries to explain. "Here or elsewhere," Rovin tells Drogo, "we're all somewhere by mistake." This sense of passionless inevitability runs through the film.
One would think that nearly two-and-a-half hours of this would be tedious. It isn't. The director, Valerio Zerlini, explores some serious themes. Is there an enemy or not? Has the fort been purposefully weakened for unknown schemes? Where actually is the fort located? (It seems it takes only three days by horseback to reach the middle of the desert after leaving the green hills and valleys of Italy...or is it even Italy?) I don't think any of this matters. The film, for me, is an allegory of how easily men can slip into the pointlessness of duty, pride, obedience and glory. Well, this approach may be a bit existential, but we can make what we want of it as we see the progression of disintegration played off against the essential meaninglessness of these men's lives.
What helps the movie immeasurably are two other factors. First, there is a whole roster of first-rate, skilled European actors, all of whom know how to underplay. In addition to von Sydow, we have Vittorio Gassman, Helmut Griem, Philippe Noiret, Fernando Rey, Jean-Louis Trintignant and Giuliano Gemma, among others. Second, there is the looming presence of the desert and Fort Bastiano itself. Much of the film was shot in Iran in the ancient city of Bam. Fort Bastiano is actually Arg-e-Bam, the Citadel of Bam. The citadel and the ancient town next to it were built of mud brick and straw eons ago. When I saw the first shot of Fort Bastiano I thought I must be seeing some early version of Computer Generated Overkill. The Citadel of Bam was huge, towering over the ancient ruins. Tragically, a massive earthquake hit Iran in 2003 with Bam at the epicenter. The only thing remaining of the Citadel, literally, is a huge mound of clay-brick rubble. Iran says the Citadel will be rebuilt, but it will take years. It is a huge cultural loss.
a metaphor for the fear of the unknown
cranesareflying26 March 2001
This film features one of the most extraordinary locations I've ever seen on film,apparently shot in Southeast Iran, these giant, snow-capped mountains loom in the distance while closer, a desert fortress rises above what appears to be the remains of abandoned, ancient ruins. In this setting, an outpost on the edge of the desert of the Tartars, overseeing rock, sand, and a perpetual mist, the extraordinary external visual world stands for the internalized world that evolves over time, soldiers at the outpost suffer from mysterious ailments that scientists can not name or cure, a metaphor for fear of the unknown, which eats at the inner core of these soldiers who live in a world abandoned by time. The men train for the inevitable attack that lurks just beyond their eyesight or understanding, there is a sort of desert fever that kicks in, so it is not really known if there is an army out there or if it's all in their mind. The stunning,visual world has been created, once again, from the brilliant mind of Valerio Zurlini.
The film reminded me of two others, Tarkovsky's `Solaris,' where men are sent to outer space only to discover that the planet surface mysteriously interacts with each man's internal memories, also a recent Hungarian film by Peter Gothar called `The Outpost,' an absurdist, Kafkaesque journey that as one engineer gets promoted and travels farther and farther away into the outer reaches of the country, bribing nearly everyone she meets just to get there, leaving the comforts of anything remotely resembling normal, and instead discovers a peculiar outpost at the end of the world where the mind plays terrible tricks.
The film reminded me of two others, Tarkovsky's `Solaris,' where men are sent to outer space only to discover that the planet surface mysteriously interacts with each man's internal memories, also a recent Hungarian film by Peter Gothar called `The Outpost,' an absurdist, Kafkaesque journey that as one engineer gets promoted and travels farther and farther away into the outer reaches of the country, bribing nearly everyone she meets just to get there, leaving the comforts of anything remotely resembling normal, and instead discovers a peculiar outpost at the end of the world where the mind plays terrible tricks.
Space and time.
dbdumonteil18 September 2001
.In France,when the movie was released,a lot of critics snubbed it,putting disparagement on it,because it could not hold a candle to Buzzati's masterpiece.But as Jean Cocteau said,critics judge art works,and they don't know they are judged by them!
Valerio Zurlini and his producer-star Jacques Perrin were faithful to the novel.They succeeded in bringing to the screen one of the most abstract ,metaphoric,and also depressing literature masterworks of the last century.Perrin is well cast as Drogo ,the young officer waiting,waiting,for something that never comes:the tartars attack symbolizes everything you long for,and when it seems it's happening,it's too late.Once proud and brave and full of great expectations,the hero becomes humble and bent,under the burden of the years passing by,inexorably,leaving him a human wreck.
In this desolate landscape,in this infinite space,man is not numbered like every grain of sand.The grandiose shots of the desert,the mountains and this strange abandoned city,which seems to contain some mysteries of ancient times,all this contrasts terribly with man's fate:see his ridiculous ceremonies,his military iron discipline,his derisory and laughable "career",he who's only a breath in Time,only a little dandruff in an universe that eludes him.
Zurlini's movie is not totally satisfying when recreating the erosion of time.In the book,it was unbearable.But he made a movie any director should be proud of,a movie that must be seen because the task was hard,and the results are sometimes sumptuous.
Perrin portrays Drogo with a great conviction.As a producer,he had serious difficulties,he had to fight to convince ,and the end of the movie -which was intended to be ,like in the book,in an inn- could not be filmed because the actor/producer was running out of money.Give
this movie a chance ,the people who made it did their share!
Valerio Zurlini and his producer-star Jacques Perrin were faithful to the novel.They succeeded in bringing to the screen one of the most abstract ,metaphoric,and also depressing literature masterworks of the last century.Perrin is well cast as Drogo ,the young officer waiting,waiting,for something that never comes:the tartars attack symbolizes everything you long for,and when it seems it's happening,it's too late.Once proud and brave and full of great expectations,the hero becomes humble and bent,under the burden of the years passing by,inexorably,leaving him a human wreck.
In this desolate landscape,in this infinite space,man is not numbered like every grain of sand.The grandiose shots of the desert,the mountains and this strange abandoned city,which seems to contain some mysteries of ancient times,all this contrasts terribly with man's fate:see his ridiculous ceremonies,his military iron discipline,his derisory and laughable "career",he who's only a breath in Time,only a little dandruff in an universe that eludes him.
Zurlini's movie is not totally satisfying when recreating the erosion of time.In the book,it was unbearable.But he made a movie any director should be proud of,a movie that must be seen because the task was hard,and the results are sometimes sumptuous.
Perrin portrays Drogo with a great conviction.As a producer,he had serious difficulties,he had to fight to convince ,and the end of the movie -which was intended to be ,like in the book,in an inn- could not be filmed because the actor/producer was running out of money.Give
this movie a chance ,the people who made it did their share!
A haunting study of isolation
cruiseabout1 February 2001
A film over two hours long set in a remote desert fort, with an all male cast and no action, may seem a daunting prospect, however THE DESERT OF THE TARTARS is a strikingly memorable experience. The characters are full of suppressed emotion and inner turmoil, the strange surrealistic fort a metaphor of their spiritual imprisonment, and the huge expanse of surrounding desert a tangent reminder, day by day, and year by year, of their fears and lost aspirations.
Time passes imperceptibly, and our dashing young lieutenant, played by Jacques Perrin and surrounded by a stellar male cast, ages and weakens as the desert and the constraints of life in the fort strips away his physical strength and inner resolve. He yearns to free himself of the debilitating fort's influence, but finds himself transfixed by the mystical challenges of the landscape, and the perceived danger from the unseen enemy beyond.
The dust of the desert, the artificiality of the military life within the walls of the fort, the rituals and uniforms, the unspoken fears, the friendships and animosities between brother officers, the authority that seldom explains it's decisions, the half-recalled memories of a former life, and the ever present foreboding created by the shadows of the desert, shadows that sometimes give rise to visions of a lurking threat that may, or may not, be hidden in those shadows.
Exemplary colour widescreen photography is aided immeasurably by the haunting themes written by Ennio Moricone, and at the disquieting and ominous conclusion of the film, we are indeed completely mesmerized by an impressionistic, visionary spectacle that will haunt us for a long time after the final credits roll.
Time passes imperceptibly, and our dashing young lieutenant, played by Jacques Perrin and surrounded by a stellar male cast, ages and weakens as the desert and the constraints of life in the fort strips away his physical strength and inner resolve. He yearns to free himself of the debilitating fort's influence, but finds himself transfixed by the mystical challenges of the landscape, and the perceived danger from the unseen enemy beyond.
The dust of the desert, the artificiality of the military life within the walls of the fort, the rituals and uniforms, the unspoken fears, the friendships and animosities between brother officers, the authority that seldom explains it's decisions, the half-recalled memories of a former life, and the ever present foreboding created by the shadows of the desert, shadows that sometimes give rise to visions of a lurking threat that may, or may not, be hidden in those shadows.
Exemplary colour widescreen photography is aided immeasurably by the haunting themes written by Ennio Moricone, and at the disquieting and ominous conclusion of the film, we are indeed completely mesmerized by an impressionistic, visionary spectacle that will haunt us for a long time after the final credits roll.
Based on known novel and being shot on historical location , today sadly disappeared by a quake though partially rebuilt
ma-cortes17 November 2008
This is the tale of a youth lieutenant named Drogo (Jacques Perrin) who is sent to a garrison located in a far post of the limits of an isolated desert and mountains surrounding . The assignment is to prevent an allegedly invasion by the dreadful Tartars . It's the story of a cavalry officer and his relationship with the remaining officers , such as lieutenant Simeón (Helmut Griem) , Commandant Mattis (Giuliano Gemma), Colonel Ortiz (Max Von Sidow ), Excellency Filmore (Vittorio Gassaman), superior officer ,(Fernando Rey) , count Amerling (Laurent Terzieff) , officer(Jean Louis Trintignant) , a General (Philippe Noiret) and a sergeant (Francisco Rabal) . All of them are suffering pains and unsettling about the possible threat coming beyond the range of high mountains , though anybody has ever seen the enemy .
Slow-moving story based on Dino Buzzzati novel requires quite thought and patience but the officers battle against time more than Tartars . Exceptional plethora of actors formed by the greatest players of the European cinema . Spectacular production design filmed in Cinecitta , Arg-e Bam , Iran , location recently destroyed by an earthquake and Tentro , Trentino (Italy) , place where director Zurlini died in 1982 . The main scenes were shot at the Bam Citadel . In 2003 it was almost completely destroyed by an earthquake, along with much of the rest of Bam and its environs . A few days after the earthquake , the Iranian President announced that the Citadel would be rebuilt . The Arg-e Bam was the largest adobe building in the world , located in Bam, a city in the southeastern Iran . It is listed by UNESCO as part of the World Heritage Site "Bam and its Cultural Landscape". The origin of this enormous citadel on the Silk Road can be traced back to the Achaemenid period . The heyday of the citadel was from the 7th to 11th centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments . The entire building was a large fortress in whose heart the citadel itself was located, but because of the impressive look of the citadel , which forms the highest point, the entire fortress is named the Bam Citadel.
Sensitive musical score including piano touches by the great Ennio Morricone . Colorful , evocative cinematography by Luciano Tovoli . The motion picture was professionally directed by Valerio Zurlini (1926-1982) and assistant direction by Christian Challonge . Zurlini was a good director with hits : 'The girl with a suitcase'(with Jacques Perrin and Claudia Cardinale), 'The professor' (Alain Delon) and flops : 'Black Jesus'(Woody Strode) and 'Violent summer' (Jean Louis Trintignant) . Rating : Acceptable and passable, however , being slow and a little boring .
Slow-moving story based on Dino Buzzzati novel requires quite thought and patience but the officers battle against time more than Tartars . Exceptional plethora of actors formed by the greatest players of the European cinema . Spectacular production design filmed in Cinecitta , Arg-e Bam , Iran , location recently destroyed by an earthquake and Tentro , Trentino (Italy) , place where director Zurlini died in 1982 . The main scenes were shot at the Bam Citadel . In 2003 it was almost completely destroyed by an earthquake, along with much of the rest of Bam and its environs . A few days after the earthquake , the Iranian President announced that the Citadel would be rebuilt . The Arg-e Bam was the largest adobe building in the world , located in Bam, a city in the southeastern Iran . It is listed by UNESCO as part of the World Heritage Site "Bam and its Cultural Landscape". The origin of this enormous citadel on the Silk Road can be traced back to the Achaemenid period . The heyday of the citadel was from the 7th to 11th centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments . The entire building was a large fortress in whose heart the citadel itself was located, but because of the impressive look of the citadel , which forms the highest point, the entire fortress is named the Bam Citadel.
Sensitive musical score including piano touches by the great Ennio Morricone . Colorful , evocative cinematography by Luciano Tovoli . The motion picture was professionally directed by Valerio Zurlini (1926-1982) and assistant direction by Christian Challonge . Zurlini was a good director with hits : 'The girl with a suitcase'(with Jacques Perrin and Claudia Cardinale), 'The professor' (Alain Delon) and flops : 'Black Jesus'(Woody Strode) and 'Violent summer' (Jean Louis Trintignant) . Rating : Acceptable and passable, however , being slow and a little boring .
Neglected masterpiece
smolensk8 December 2006
This extraordinary film sprang from a fertile time in world cinema. In the USA the medium was experiencing heady creativity but in Italy such exceptional ability was expected. To see it now is to witness movie making at its most devoted and personal. Zurlini casts it brilliantly. The acting by an acclaimed cast is both restrained and gut wrenching. Adapted from a classic novel, which I have not read, it leaves its literary provenance behind while still managing to address what are normally literary obsessions: existentialism, nihilism and romantic futility. Visually the film is stunning and makes a mockery of the ghastly special effects which in a film like Gladiator make the world seem like a landscape of precious celluloid grey. It is filmed in the middle east in a now earthquake-torn ancient town. If one didn't know such a place existed one would think that special effects had accomplished impossible beauty. But no, its all real. And all spectacularly realised.
A film that marked me forever
liancu1 December 1999
A film that marked me forever, If you've never seen this movie, than you have to see it, it deserves a 10/10 (A )note. I'm looking forward to see this film once again in my life and it will be the spleen. In my life there were 2 film that marked me this one and The Woman Of The Dunes.
A Masterful Adaptation and a Cinematic Masterpiece
Eumenides_031 October 2009
Warning: Spoilers
I read Dino Buzzati's novel The Tartar Steppe in 2008. The delicacy and depth with which it tackled ideas and feelings central to human existence, plus the beauty and weightlessness of the writing, made it one of my favourite novels. Then I discovered Valerio Zurlini, an Italian director unknown to me, had adapted it to cinema. For more than a year I relished in the idea of watching this movie.
Long before watching it I had already heard Ennio Morricone's score, which brought to mind the sadness and nostalgia the novel produced in me. My interest grew as I contemplated seeing how the movie and music would complement each other. I've now seen the movie, and although my favourite tracks don't play as much as I wish they did, Il Deserto dei Tartari will remain forever as one of the most enjoyable and most beautiful film experiences of my life.
The movie follows the novel closely plot-wise: young Lieutenant Drogo leaves the Kingdom's capital to take his post at the remote border Fortress of Bastiano, where soldiers and officers have held watch for decades in anticipation of an attack from the mysterious Tartars, the desert people on the other side of the border. Bastiano is a dead place and unsuitable for anyone wanting to make a name for himself in the army since there's little evidence there will ever be a war there. But some endure and wait patiently for the day their patience will be rewarded and war comes and they can achieve glory.
Poor Drogo is caught in this oppressive game of patience, constantly torn between the idea of leaving, the shame of leaving (or deserting, as he feels it), or staying and waiting for the Tartars. As the years and decades pass, the movie shows us what men will sacrifice for a moment to validate their absurd existence, how they'll waste their entire lives waiting for something that may never come.
In this atmosphere friends leave, others die. Some grow old and retire, some are promoted. And always life goes on without much change. In a movie where fundamental aspects of human life are explored, it's no wonder that this movie is filled with scenes of intimacy and beauty. It's always heartbreaking when friends bid farewell, and there are many farewell scenes in this movie, some of the best I've seen. It's also sad to see when Tartars are spotted and the soldiers build up hopes, only to have them thwarted again and again.
The cast gathers some of the best European actors of the time: Jacques Perrin plays Drogo; Vittorio Gassman plays the Fortress' Colonel Filimore, an experienced and sensible man who contrasts with Major Mattis (Giuliano Gemma), a fanatic for rules and order. Max Von Sydow gives my favourite performance of the movie as Hortiz, a seasoned officer who embodies the hope that one's life dedicated to the Fortress will be validated by a Tartar attack. Smaller roles are filled in by amazing actors like Jean-Louis Trintignant, Francisco Rabal, Fernando Rey, Philippe Noirte and Helmut Griem.
From a visual point of view the movie is gorgeous. I read that Zurlini used Giorgio de Chirico's paintings to capture the feel of silence and stillness of the movie, and it shows. As the screen fills with vast landscapes and decrepit buildings, one can see de Chirico's mysterious piazzas and desolate buildings. Complemented by one of Morricone's best scores, Il Deserto dei Tartari stands as a great cinematic achievement.
Long before watching it I had already heard Ennio Morricone's score, which brought to mind the sadness and nostalgia the novel produced in me. My interest grew as I contemplated seeing how the movie and music would complement each other. I've now seen the movie, and although my favourite tracks don't play as much as I wish they did, Il Deserto dei Tartari will remain forever as one of the most enjoyable and most beautiful film experiences of my life.
The movie follows the novel closely plot-wise: young Lieutenant Drogo leaves the Kingdom's capital to take his post at the remote border Fortress of Bastiano, where soldiers and officers have held watch for decades in anticipation of an attack from the mysterious Tartars, the desert people on the other side of the border. Bastiano is a dead place and unsuitable for anyone wanting to make a name for himself in the army since there's little evidence there will ever be a war there. But some endure and wait patiently for the day their patience will be rewarded and war comes and they can achieve glory.
Poor Drogo is caught in this oppressive game of patience, constantly torn between the idea of leaving, the shame of leaving (or deserting, as he feels it), or staying and waiting for the Tartars. As the years and decades pass, the movie shows us what men will sacrifice for a moment to validate their absurd existence, how they'll waste their entire lives waiting for something that may never come.
In this atmosphere friends leave, others die. Some grow old and retire, some are promoted. And always life goes on without much change. In a movie where fundamental aspects of human life are explored, it's no wonder that this movie is filled with scenes of intimacy and beauty. It's always heartbreaking when friends bid farewell, and there are many farewell scenes in this movie, some of the best I've seen. It's also sad to see when Tartars are spotted and the soldiers build up hopes, only to have them thwarted again and again.
The cast gathers some of the best European actors of the time: Jacques Perrin plays Drogo; Vittorio Gassman plays the Fortress' Colonel Filimore, an experienced and sensible man who contrasts with Major Mattis (Giuliano Gemma), a fanatic for rules and order. Max Von Sydow gives my favourite performance of the movie as Hortiz, a seasoned officer who embodies the hope that one's life dedicated to the Fortress will be validated by a Tartar attack. Smaller roles are filled in by amazing actors like Jean-Louis Trintignant, Francisco Rabal, Fernando Rey, Philippe Noirte and Helmut Griem.
From a visual point of view the movie is gorgeous. I read that Zurlini used Giorgio de Chirico's paintings to capture the feel of silence and stillness of the movie, and it shows. As the screen fills with vast landscapes and decrepit buildings, one can see de Chirico's mysterious piazzas and desolate buildings. Complemented by one of Morricone's best scores, Il Deserto dei Tartari stands as a great cinematic achievement.
Mesmerising masterpiece
gut-62 November 2003
The closest comparison for this film is "2001: A Space Odyssey". whether you were awed or bored by Kubrick's masterpiece, you will probably react the same to this one. Yes, it is slow-moving, and little happens, but I was on the edge of my seat throughout. A breathtaking masterpiece.
Film a failure
jrcham949 May 2006
Warning: Spoilers
In spite of its high-minded ambitions, Zurlini's film must be seen as a failure. It's one thing to create a world which draws the viewer into feeling the tedium and angst experienced by the protagonist (which I think is what Zurlini was attempting). It's another thing entirely to make a film that is itself tedious and meaninglessly episodic. Despite beautiful cinematography at a haunting location - and a wonderful score - the film never lures the audience in. Too much is unintentionally funny (the phony sound of dripping water in Drago's quarters, for example, or the silent-movie mugging by some of the actors) or simply confusing (Why exactly does Drago want to leave the fort the first time?) for the film to succeed as a coherent work.
Oppression From Within Can Be The Deadliest
museumofdave17 February 2013
Hollywood tends to make films about what happens "outside" a person, about action, about guns and explosions, and about rapid-fire cutting and dialog; many European filmmakers do just the opposite and develop "interior" stories, about what goes on inside a person's mind, about how their actions are driven by their environment; the environment in this little-known but complex desert epic is an ancient fort built on the edge of two countries where nothing much seems to happen, but where the inhabitants wait...and wait...and where a new officer arrives hoping to make his mark. Many folks will find the lack of direct action frustrating, as this is a character study more than anything else--but what characters! And what an outstanding group of actors--and subtle music by Ennio Morricone--and some fascinating cinematography.
A profoundly important if not exactly 'great' film
Aw-komon8 February 2001
The fact that this film ever got made is a marvel. Some of the biggest stars of European cinema got together with Zurlini to make this one-of-a-kind film about boredom and existential despair. The profound emptiness lurking within every man as he tries to cope with an absurd existence and which always looks for an escape through some distraction or mindlessness (such as war, pointless work, perversion, etc.)rather than face the frightful prospect of coming to terms with itself IS the subject of this film and NO COMPROMISE WHATSOEVER is made to please the audience.
The pace of the film is slow and methodical, deliberately making the audience become as bored and uncomfortable as the protagonists. However, if you know this or sense it, you are no longer bored but aware of the film's intentions and fascinated. When the finale comes to bring together all that went before, the understaed effect is overwhelming. One shot in particular, that of the Tartars suddenly appearing over the hills way out in the distance is so fantastic that it becomes etched in your mind forever. The story is about a military officer (Jacques Perrin) sent to a fort somewhere in the middle of a god-for-saken desert where the endless similarity of the days nearly drive him nuts to the point where he comes to hope for a war or attack of some kind to change things. He's hoping for anything that'll distract him from feeling the emptiness inside and can't find it. The plot is the laboratory experiment by which Zurlini expounds his view of the eternal isolation of man from man and the essential absurdity of existence. Some of the most bizzarely fascinating location photography is featured but the tone of the film is intentionally 'dry' and 'non-poetic' (unlike the very poetic way his previous film "The Professor" starring Alain Delon was made, for instance)and most of the stars (except for Von Sydow and Trintignant) have relatively small roles. Trintignant is pretty hilarious in his role as the fort's doctor.
Overall, "Desert of the Tartars" is a not-too-successful (its impact is nowhere near the level achieved by Antonioni's "The Passenger", for instance) but still thoroughly fascinating experiment in uncompromising dramatic cinema.
The pace of the film is slow and methodical, deliberately making the audience become as bored and uncomfortable as the protagonists. However, if you know this or sense it, you are no longer bored but aware of the film's intentions and fascinated. When the finale comes to bring together all that went before, the understaed effect is overwhelming. One shot in particular, that of the Tartars suddenly appearing over the hills way out in the distance is so fantastic that it becomes etched in your mind forever. The story is about a military officer (Jacques Perrin) sent to a fort somewhere in the middle of a god-for-saken desert where the endless similarity of the days nearly drive him nuts to the point where he comes to hope for a war or attack of some kind to change things. He's hoping for anything that'll distract him from feeling the emptiness inside and can't find it. The plot is the laboratory experiment by which Zurlini expounds his view of the eternal isolation of man from man and the essential absurdity of existence. Some of the most bizzarely fascinating location photography is featured but the tone of the film is intentionally 'dry' and 'non-poetic' (unlike the very poetic way his previous film "The Professor" starring Alain Delon was made, for instance)and most of the stars (except for Von Sydow and Trintignant) have relatively small roles. Trintignant is pretty hilarious in his role as the fort's doctor.
Overall, "Desert of the Tartars" is a not-too-successful (its impact is nowhere near the level achieved by Antonioni's "The Passenger", for instance) but still thoroughly fascinating experiment in uncompromising dramatic cinema.
An Italian masterpiece
blutosky1 May 2000
From the great Italian book "il Deserto dei Tartari" by Dino Buzzati - one of the masters of European 20th century - Valerio Zurlini managed this strange film with a great cast of characters. In a lost fort named Bastiano in the heart of an unknown dessert some soldiers are waiting for an attack to give a sense to their life.
This is the story of a great part of us and this is what Buzzati thought. The life of Giovanni Drogo (Giuliano Gemma) - young lieutenant - is inside the fort like our life is inside something perhaps more immaterial but very similar.
This is the story of a great part of us and this is what Buzzati thought. The life of Giovanni Drogo (Giuliano Gemma) - young lieutenant - is inside the fort like our life is inside something perhaps more immaterial but very similar.
man as isle
Kirpianuscus1 May 2017
if you know the novel, the film could be a correct adaptation. if you do not know the book, the film could be boring, too slow, too long, only an experiment. in fact, the truth is at the middle. the film is more than an adaptation but exposure of the point of view of director about the isolation of man in contemporary society. the purpose is served by the great cast, the desolated landscapes, the expectation as way to survive, the construction of the dramatic end. it is translation of a deep feeling and the book of Buzatti seems be, in many scenes, the perfect tool. so, it is not fair to define it using the expectations. because something does it special. maybe, the reflection in yourself. or the long expectations. or the sensation to see a Kafka works.
Marvellous Film Experience
rossacrowe14 June 2008
I just saw this film a few days ago and it had a very strong impact on me. I was extremely impressed by Zurlini's "Girl with a suitcase" and "violent Summer" (The excellent NoShame release - grab it if you do not already have it!)but this film is the work of a very mature director.
Zurlini has the confidence to slow everything down. The camera-work is stunning (the location in Iran is breathtaking, magical). The acting is extraordinary - this film is a meeting place for some great actors. There is often little dialogue and so we feel accutely the presence that these actors have - Gassman, Perrin, Trintignant, Gemma, Von Syndow etc. For me so much of the film is about the feeling that is created not the specifics of the storyline. The actors have a wonderful sincerity - a lot of eye contact demonstrates the closeness that these people feel at a human level.
The story - I have not read the novel therefore I do not claim to have any clear idea of the exact message but for me the film is about the feeling it creates. It made me reflect. Not so much on understanding the meaning but on the characters themselves and the various emotions we have as humans.
I did however feel that the pace and feeling of the film changes after Perrin is sent back to the fort after his request for a transfer is declined. A lot of the peacefulness of the film goes and a more agitated atmosphere prevails.
Nothing is made clear - mystery prevails. The final shot of the approaching horsemen is unforgettable. Morricone's score is top-rate.
Altogether an extraordinary work - images, characters and acting that that left a strong impression on me. I am very curious to see more Zurlini.
I have the Italian DVD of this film. I am very tempted to buy the NoShame DVD for the quality of their releases and the extras.
Zurlini has the confidence to slow everything down. The camera-work is stunning (the location in Iran is breathtaking, magical). The acting is extraordinary - this film is a meeting place for some great actors. There is often little dialogue and so we feel accutely the presence that these actors have - Gassman, Perrin, Trintignant, Gemma, Von Syndow etc. For me so much of the film is about the feeling that is created not the specifics of the storyline. The actors have a wonderful sincerity - a lot of eye contact demonstrates the closeness that these people feel at a human level.
The story - I have not read the novel therefore I do not claim to have any clear idea of the exact message but for me the film is about the feeling it creates. It made me reflect. Not so much on understanding the meaning but on the characters themselves and the various emotions we have as humans.
I did however feel that the pace and feeling of the film changes after Perrin is sent back to the fort after his request for a transfer is declined. A lot of the peacefulness of the film goes and a more agitated atmosphere prevails.
Nothing is made clear - mystery prevails. The final shot of the approaching horsemen is unforgettable. Morricone's score is top-rate.
Altogether an extraordinary work - images, characters and acting that that left a strong impression on me. I am very curious to see more Zurlini.
I have the Italian DVD of this film. I am very tempted to buy the NoShame DVD for the quality of their releases and the extras.
A film that marked me forever
liancu1 December 1999
A film that marked me forever, If you've never seen this movie, then you have to see it, it deserves a 10/10 (A )note. I'm looking forward to see this film once again in my life and it will be the spleen. In my life there were 2 film that marked me this one and The Woman Of The Dunes.
more than a movie
Vincentiu26 February 2014
and more than an admirable novel adaptation. a kind of experience who seduce and transforms. the images, the acting, the dialogs, the atmosphere. one of rare films who can give the feeling of deep, delicate, bitter and terrible work. because, after years, after so many blockbusters and art movies, "Il deserto dei tartari" remains a special gem, support for a lot of emotions, discoveries and silence sides. before see the film, read the book ! not for compare. not for understand the story. but only for magnificent circle defined by the two pieces of it. the music, the cast, the images. a terrible masterpiece. about basic things. about expectation price. and, sure, about reality. more than a film. or a parable. maybe, only an open window. surely, a rare masterpiece.
Strongest anti-war movie ever
thalenoi14 October 2001
The story in the movie cannot be dated, which makes it timelessly valid. It is about life that passes by for a military career that will never see war, nor become the commander in chief of a fortress in the desert.
Nevertheless, it is known the enemy is approaching and preparing for war. Everything is done in the plot to avoid lower military rank to be knowledgeable about the upcoming war. The scenery of the shots in the Marrocco desert and the brown-red fortress are marvellous. Live languishes in the fortress, struggles are depicted masterly amid officers to reach promotion in the military hierarchy. All for nothing, deeply useless.
This movie depicts the stupidity of nations who prepare for war which hopefully will never occur. Unfortunately we lost the desert of the tartars, because war caught-up with humanity.
Nevertheless, it is known the enemy is approaching and preparing for war. Everything is done in the plot to avoid lower military rank to be knowledgeable about the upcoming war. The scenery of the shots in the Marrocco desert and the brown-red fortress are marvellous. Live languishes in the fortress, struggles are depicted masterly amid officers to reach promotion in the military hierarchy. All for nothing, deeply useless.
This movie depicts the stupidity of nations who prepare for war which hopefully will never occur. Unfortunately we lost the desert of the tartars, because war caught-up with humanity.
Very underrated film
nephihaha7 March 2017
I've only ever had the chance to see this film once in a cinema years ago but it's stuck with me. On the face of it, the plot is not very interesting- soldiers holed up in a remote fort in a non-place waiting for an enemy who never turns up... but the locations are incredible, the score is by Ennio Morricone and there is a constant tension between the characters and within themselves... they are just waiting around for the war to begin. The real war is within themselves.
"We are all somewhere by mistake."
brogmiller21 August 2021
It is immensely gratifying that this final film of Valerio Zurlini has attracted such positive reviews for it is arguably his finest achievement.
We owe a tremendous debt of gratitude to co-producer and leading actor Jacques Perrin for having raised the finance and to Zurlini and his writing team for having retained fidelity to the spirit of Dino Buzzati's novel. By all accounts both the narrative and the funding had previously proved insuperable obstacles to Michelangelo Antonioni and Miklós Janscó.
It would be well-nigh impossible to assemble an international cast of this quality now and each characterisation is beautifully observed. As a bonus the inevitable 'dubbing' of many cast members is seamless.
The magic alchemy by which certain films come together is impossible to define but it is obvious here that the principal players all share a belief in the material and their director. Inspired also is the use of the fortress city of Arg-é Bam in South-Eastern Iran, built in 500 BC and sadly destroyed by earthquake in 2003. The mysteriousness of this construction and the surrounding landscape are brilliantly captured by cinematographer Luciano Tovoli as well as the stunning scenery of Alto Adige and Abruzzo. Composer Ennio Morricone has contributed one of his most haunting and evocative scores.
It is no mean feat to maintain our interest for practically 190 minutes as we observe the repetitive rituals of military life in the fortress of Bastiano with its pointless protocol and interminable introductions, drills and heel-clicking. The film succeeds however by showing us the terrible toll this empty and monotonous existence takes on the protagonists, both physical and psychological.
Technically superb and brilliantly acted, this is quite simply film-making of the highest quality and it would be unpardonable to award it less than '10'.
We owe a tremendous debt of gratitude to co-producer and leading actor Jacques Perrin for having raised the finance and to Zurlini and his writing team for having retained fidelity to the spirit of Dino Buzzati's novel. By all accounts both the narrative and the funding had previously proved insuperable obstacles to Michelangelo Antonioni and Miklós Janscó.
It would be well-nigh impossible to assemble an international cast of this quality now and each characterisation is beautifully observed. As a bonus the inevitable 'dubbing' of many cast members is seamless.
The magic alchemy by which certain films come together is impossible to define but it is obvious here that the principal players all share a belief in the material and their director. Inspired also is the use of the fortress city of Arg-é Bam in South-Eastern Iran, built in 500 BC and sadly destroyed by earthquake in 2003. The mysteriousness of this construction and the surrounding landscape are brilliantly captured by cinematographer Luciano Tovoli as well as the stunning scenery of Alto Adige and Abruzzo. Composer Ennio Morricone has contributed one of his most haunting and evocative scores.
It is no mean feat to maintain our interest for practically 190 minutes as we observe the repetitive rituals of military life in the fortress of Bastiano with its pointless protocol and interminable introductions, drills and heel-clicking. The film succeeds however by showing us the terrible toll this empty and monotonous existence takes on the protagonists, both physical and psychological.
Technically superb and brilliantly acted, this is quite simply film-making of the highest quality and it would be unpardonable to award it less than '10'.
WAITING FOR THE BARBARIANS, a poem by Constantine CAVAFY, circa 1911
pcatsiapis-9943730 October 2021
This beautiful poem ties in wonderfully with Zurlini's beautiful film:
What are we waiting for, assembled in the forum?
The barbarians are due here today.
...
Why did our emperor get up so early, and why is he sitting enthroned at the city's main gate, in state, wearing the crown?
Because the barbarians are coming today and the emperor's waiting to receive their leader.
...
Why don't our distinguished orators turn up as usual to make their speeches, say what they have to say?
Because the barbarians are coming today and they're bored by rhetoric and public speaking.
Why this sudden bewilderment, this confusion?
(How serious people's faces have become.) Why are the streets and squares emptying so rapidly, everyone going home lost in thought?
Because night has fallen and the barbarians haven't come.
And some of our men just in from the border say there are no barbarians any longer.
Now what's going to happen to us without barbarians?
Those people were a kind of solution.
(Translated by Edmund Keeley)
What are we waiting for, assembled in the forum?
The barbarians are due here today.
...
Why did our emperor get up so early, and why is he sitting enthroned at the city's main gate, in state, wearing the crown?
Because the barbarians are coming today and the emperor's waiting to receive their leader.
...
Why don't our distinguished orators turn up as usual to make their speeches, say what they have to say?
Because the barbarians are coming today and they're bored by rhetoric and public speaking.
Why this sudden bewilderment, this confusion?
(How serious people's faces have become.) Why are the streets and squares emptying so rapidly, everyone going home lost in thought?
Because night has fallen and the barbarians haven't come.
And some of our men just in from the border say there are no barbarians any longer.
Now what's going to happen to us without barbarians?
Those people were a kind of solution.
(Translated by Edmund Keeley)
THE DESERT OF THE TARTARS (Valerio Zurlini, 1976) ***1/2
Bunuel19762 December 2006
This is the first Valerio Zurlini film I have watched and, ironically, it was his last (and arguably most ambitious) undertaking but which can hold its own alongside its contemporaries among the classics of World Cinema; for the record, I also own THE GIRLS OF SAN FREDIANO (1954) and THE CAMP FOLLOWERS (1965) on VHS and had erased GIRL WITH A SUITCASE (1960) - without even watching it! - in anticipation of its 2-Disc Set release by No Shame (which incorporates Zurlini's VIOLENT SUMMER [1959]).
Anyhow, THE DESERT OF THE TARTARS is practically an intellectual, existentialist version of "Beau Geste" in which very little actually happens during its 2½ hour running-time (and, thus, may seem boring to the uninitiated) but, for more adventurous film fans, however, it's a mesmerizing and truly evocative experience with a strong anti-war statement to make. Unsurprisingly perhaps, it is hardly ever shown on Italian TV - with the most recent occasion being on the very last day of my 3-month stay in Hollywood late last year, which meant that I had to miss it (although I was already aware of No Shame's 2-Disc Set, which was released around the same time).
The cast is made up of a once-in-a-lifetime roster of international film stars: Vittorio Gassman, Giuliano Gemma, Helmut Griem, Philippe Noiret (who died last week, alas), Jacques Perrin (who has the lead role and also did duty as one of the producers), Francisco Rabal, Fernando Rey, Laurent Terzieff, Jean-Louis Trintignant and Max von Sydow! Incredibly, it's Gemma who stands out in a rare villainous turn as the sadistic Major - though Max von Sydow as the disgraced Captain and Vittorio Gassman as the ageing Commander of the Fort are quietly impressive in their own way. While the first half is deliberately-paced, eliciting its own particular ambiance and etching all the various characters, by comparison, the latter stages are somewhat rushed - as the years fly by and the fort changes its command several times, so as to bring the story to its main theme - that of the remote company, seen constantly drilling in the hope of an attack by enemy forces which, when it finally arrives, they seem incapable of dealing with adequately!
The beautiful cinematography of the splendid Iranian desert location (with the interiors filmed in Rome) is by Luciano Tovoli and Ennio Morricone's score, rendered in its entirety on the CD found in No Shame's SE DVD, is suitably majestic and melancholic. The supplements, then, aren't prolific but quite nicely done nevertheless - though only Tovoli's 35-minute interview goes into any real detail about the making of the film (and even that includes copious references to his collaborations with other Italian masters such as Michelangelo Antonioni and Dario Argento).
Anyhow, THE DESERT OF THE TARTARS is practically an intellectual, existentialist version of "Beau Geste" in which very little actually happens during its 2½ hour running-time (and, thus, may seem boring to the uninitiated) but, for more adventurous film fans, however, it's a mesmerizing and truly evocative experience with a strong anti-war statement to make. Unsurprisingly perhaps, it is hardly ever shown on Italian TV - with the most recent occasion being on the very last day of my 3-month stay in Hollywood late last year, which meant that I had to miss it (although I was already aware of No Shame's 2-Disc Set, which was released around the same time).
The cast is made up of a once-in-a-lifetime roster of international film stars: Vittorio Gassman, Giuliano Gemma, Helmut Griem, Philippe Noiret (who died last week, alas), Jacques Perrin (who has the lead role and also did duty as one of the producers), Francisco Rabal, Fernando Rey, Laurent Terzieff, Jean-Louis Trintignant and Max von Sydow! Incredibly, it's Gemma who stands out in a rare villainous turn as the sadistic Major - though Max von Sydow as the disgraced Captain and Vittorio Gassman as the ageing Commander of the Fort are quietly impressive in their own way. While the first half is deliberately-paced, eliciting its own particular ambiance and etching all the various characters, by comparison, the latter stages are somewhat rushed - as the years fly by and the fort changes its command several times, so as to bring the story to its main theme - that of the remote company, seen constantly drilling in the hope of an attack by enemy forces which, when it finally arrives, they seem incapable of dealing with adequately!
The beautiful cinematography of the splendid Iranian desert location (with the interiors filmed in Rome) is by Luciano Tovoli and Ennio Morricone's score, rendered in its entirety on the CD found in No Shame's SE DVD, is suitably majestic and melancholic. The supplements, then, aren't prolific but quite nicely done nevertheless - though only Tovoli's 35-minute interview goes into any real detail about the making of the film (and even that includes copious references to his collaborations with other Italian masters such as Michelangelo Antonioni and Dario Argento).
Excellent
Cosmoeticadotcom21 June 2012
Warning: Spoilers
The Desert Of The Tartars (Il Deserto Dei Tartari) is a film that has been described as a cross between Beau Geste and Waiting For Godot, and into that mix I would toss some of the films of Hiroshi Teshigahara, especially Woman In The Dunes, as well as the troop interactions seen in the 1960s American television sitcom F Troop, even though The Desert Of The Tartars is not a comedy. This is because the slow moving and contemplative first half of the film follows the setting up of the main military officer characters between each other, and with their men, while the second half of the film speeds up the pace of the diegetic time, and focuses more on the reactions of the officers to the world outside their fortress, rather than within it. The reason for these comparisons are that, unlike three of those four mentioned influences, this 140 minute long, color, 1976 film, by Italian director, Valerio Zurlini, with a screenplay by André G. Brunelin, based on a novel by Dino Buzzati, called The Tartar Steppe, is a film almost hermetically sealed from laughter. Having stated that, it's not a film that is overly somber. It is the sort of film, like those in the canons of Bela Tarr, Theo Angelopolous, and John Cassavetes, that is simply nonpareil, in the sense that there really is no other film like it, for good or ill. Overwhelmingly, I'd claim that the film's difference is overwhelmingly for the positive, but there are a few negatives that keep the film in the near-great category, rather than that of the unequivocally great.
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