As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tanpura. Documentary 7.2 Stanley Kubrick: A Life in Pictures 2001 Documentary 8.0 1234 15 2010 Drama [6], In the film, a "stalker" is a professional guide to the Zone, someone having the ability and desire to cross the border into the dangerous and forbidden place with a specific goal.[5][7]. It can convey movement and a sense of change and flux. [8] Dyer says "while the film may not be about the gulag, it is haunted by memories of the camps, from the overlap of vocabulary ("Zona", "the meat grinder") to the Stalker's Zek-style shaved head. As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered directly to the camera. A train passes by where the Stalker's family lives, and the entire apartment shakes. Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film. Upon release, the film garnered mixed reviews initially before receiving overwhelmingly positive reviews over the following years, thus becoming a cult film with many praising Tarkovsky's directing, visuals, themes and screenwriting. According to an interview with Tarkovsky in 1979, the film has basically nothing in common with the novel except for the two words "Stalker" and "Zone". Born on April 4th, 1932, Andrei Arsenyevich Tarkovsky was a Soviet and Russian filmmaker, theater director, writer, and film theorist. [12] The shot before they enter the Zone is an old Flora chemical factory in the center of Tallinn, next to the old Rotermann salt storage (now Museum of Estonian Architecture), and the former Tallinn Power Plant, now Tallinn Creative Hub, where a memorial plate of the film was set up in 2008. [29], On review aggregator Rotten Tomatoes, the film is rated at 100% based on 41 reviews with an average rating of 8.57/10. Like Tarkovsky's other films, Stalker relies on long takes with slow, subtle camera movement, rejecting the use of rapid montage. In Schager's view, Stalker shows "something akin to the essence of what man is made of: a tangled knot of memories, fears, fantasies, nightmares, paradoxical impulses, and a yearning for something that's simultaneously beyond our reach and yet intrinsic to every one of us. Directed by Andrei Tarkovsky. After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life. [18], Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be. He hoped it would allow him to make a film which conforms to the classical Aristotelian unity; a single action, on a single location, within 24 hours (single point in time).[7]. The film combines elements of science fiction with dramatic philosophical and psychological themes. Summary : Andrei Tarkovsky's Sounding Cinema adds a new dimension to our understanding and appreciation of the work of Russian director Andrei Tarkovsky (1932–1986) through an exploration of the presence of music and sound in his films. Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music. Sound designer Vladimir Sharun recalled: "We were shooting near Tallinn in the area around the small river Jägala with a half-functioning hydroelectric station. The Stalker tells his clients they must do exactly as he says to survive the dangers which lie ahead and explains that the Zone must be respected and the straightest path is not always the shortest path. As they travel, the three men discuss their reasons for wanting to visit the Room. It's presented in full-frame with footage from the filming locations and excerpts from The Sacrfice. He refers to a previous Stalker named "Porcupine", who had led his brother to his death in the Zone, visited the Room, come into possession of a large sum of money, and shortly afterwards committed suicide. The Writer realizes that when Porcupine met his goal, despite his conscious motives, the room fulfilled Porcupine's secret desire for wealth rather than bring back his brother from death. Initially almost inaudible, the electronic tone emerges and replaces the engine sound as if time has frozen. The Stalker film score was composed by Eduard Artemyev, who had also composed the scores for Tarkovsky's previous films Solaris and Mirror. He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds. There is even this shot in Stalker: snow falling in the summer and white foam floating down the river. Directed by Andrei Tarkovsky - The Criterion Channel Directed by Andrei Tarkovsky In a string of visionary films that challenged the audience’s perceptions of time and space, Russian master Andrei Tarkovsky created a cinematic language all his own, one in which weighty philosophical themes found expression in images of haunting, spectral beauty. The source of this music is unclear, thus setting the tone for the blurring of reality in the film. The three men enter a physical and verbal standoff just outside the Room that leaves them exhausted. [19] One of Tarkovsky's ideas was to perform Western music on Oriental instruments, or vice versa, performing Oriental music on European instruments. The film tells the story of an expedition led by a figure known as the "Stalker" (Alexander Kaidanovsky), who takes his two clients—a melancholic writer (Anatoly Solonitsyn) seeking inspiration, and a professor (Nikolai Grinko) seeking scientific discovery—to a mysterious restricted site known simply as the "Zone", where there supposedly exists a room which grants a person's innermost desires. As in the rest of the film the disconnect between the visual image and the sound leaves the audience unclear whether the sound is real or an illusion.[23]. In both works, the Zone is guarded by a police or military guard, apparently authorized to use deadly force. In the novel, frequent visits to the Zone increase the likelihood of abnormalities in the visitor's offspring. Veteran Russian director Andrei Konchalovsky has gone back to his beginnings for his latest film, Dear Comrades! It’s a really complex production, but incredibly real and human, I’d say. ", A unique perspective on the making of Stalker: The testimony of a mechanic toiling away under Tarkovsky's guidance, https://en.wikipedia.org/w/index.php?title=Stalker_(1979_film)&oldid=1000353177, Films based on works by Arkady and Boris Strugatsky, Soviet avant-garde and experimental films, Articles containing Russian-language text, Articles with unsourced statements from June 2020, Articles that may contain original research from June 2020, All articles that may contain original research, Articles with Estonian-language sources (et), Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Natasha Abramova as Martyshka, the Stalker's daughter, RUSCICO produced a version for the international market containing the film on two DVDs with remastered audio and video. Naturally, something that continues happening even nowadays, the film surpassed any possible … I was seriously listening to them thinking “what’s the meaning of life, then?” You may think it’s funny, but I was reflecting a lot during and after watching, which is why I think you should also experience it. The Professor has brought a 20-kiloton bomb (comparable to the Nagasaki nuclear bomb) with him, and he intends to destroy the Room to prevent its use by evil men. ***One of the best 150 films I have ever seen. However, when the crew returned to Moscow, they found that all of the film had been improperly developed and their footage was unusable. Change ), You are commenting using your Google account. Voyage in Time (1983) There Will Be No Leave Today (1959) Andrei Arsenyevich Tarkovsky was a Russian filmmaker, writer, film editor, film theorist and opera director, widely regarded as one of the finest filmmakers of the 20th century. This aural impression is quickly subverted by the muffled sound of Beethoven's Ninth Symphony. These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard. 1979 Stalker. ASL (Average Shot Length) and duration may be another trait most often associated with Tarkovsky. Periodically one hears what could be a train. Or actually, it’s not. After several arguments, Tarkovsky sent Rerberg home. Only after some time, and only slightly audibly can one hear the sound of a distant river, the sound of the blowing wind, or the occasional cry of an animal. His films are poetic, hypnotic, ethereal, and profoundly philosophical. [citation needed]. While searching for work, they have a chance to discover Russia and meet a lot of people. [23] For this part of the film Tarkovsky was also considering music by Richard Wagner or the Marseillaise. When the Professor, for example, extinguishes the fire by throwing his coffee on it, all sounds but that of the dripping water fall off. Why? According to Tarkovsky, he aimed at this consistency and moved into this direction in Stalker and Nostalghia. The Writer is skeptical of any real danger, but the Professor generally follows the Stalker's advice. There are film which you can watch while doing three other things and there are film which you have to watch carefully and still read a lot about them to understand what’s going on. [23], –Andrei Tarkovsky, interviewed by Tonino Guerra in 1979. *** Thanks to the power and humanism of a gripping anti-war manifesto called Ivanovo Detstvo (1962) directed by Andrei Tarkovsky, his next epic project Andrey Rublyov had a considerable amount of high expectations from the Russian audience. These sounds grow richer and more audible while the Stalker makes his first venture into the Zone, initially leaving the Professor and the Writer behind, and as if the sound draws him towards the Zone. Sight & Sound’s 2012 poll of the best films of all time saw no less than three of his movies – Mirror (1974), Andrei Rublev (1966), and Stalker (1979) – voted into the top 30 by critics and directors. Andrei Konchalovsky does nothing in a small way. "[28] Slant Magazine reviewer Nick Schager has praised the film as an "endlessly pliable allegory about human consciousness". Tarkovsky ended up reshooting almost all of the film with a new cinematographer, Alexander Knyazhinsky. Besides, Tarkovsky was a genius when it comes to directing. And Tolya Solonitsyn too. Artemyev proposed to try this idea with the motet Pulcherrima Rosa by an anonymous 14th century Italian composer dedicated to the Virgin Mary. The sparseness of sounds in the Zone draws attention to specific sounds, which, as in other scenes, are largely disconnected from the visual image. The Killers is a 1956 student film by the Soviet and Russian film director Andrei Tarkovsky and his fellow students Marika Beiku and Aleksandr Gordon. [11], After the loss of the film stock, the Soviet film boards wanted to shut the film down, but Tarkovsky came up with a solution: he asked to be allowed to make a two-part film, which meant additional deadlines and more funds. The camera movement traces all the way back to Murnau and Tarkvosky is his own production designer, in a top 10 film of all-time ( Stalker ). After seeing the poorly developed material, Tarkovsky fired Rerberg. The conversations you will hear are very much thought-provoking and eye-opening. [citation needed], In Roadside Picnic, the site was specifically described as the site of alien visitation; the name of the novel derives from a metaphor proposed by a character who compares the visit to a roadside picnic. In the book, the Stalker's daughter has light hair all over her body, while in the film she is crippled and has psychokinetic abilities. At the same time, one mustn't be aware of music, nor natural sounds. Tarkovsky died from cancer of the right bronchial tube. Andrei Tarkovsky (1932–1986) was a Russian film director, screenwriter and film … Post was not sent - check your email addresses! [26], More recently, reviews of the film have been highly positive. Music was added to the scene where the three are traveling to the Zone on a motorized draisine. In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer. I think that it’s one of those films which you don’t have to understand perfectly, but for sure you need to stay focused, because the whole production is a masterpiece and watching it should be considered as a quite emotional experience. In an interview with Tonino Guerra in 1979, Tarkovsky said that he wanted: "...music that is more or less popular, that expresses the movement of the masses, the theme of humanity's social destiny...But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it. Streaming Guide Movies Documentary. "[30], Stalker sold 4.3 million tickets in the Soviet Union. He made only seven features, but Russian director Andrei Tarkovsky is widely regarded as one of cinema’s true masters. [7], Yet, several similarities remain between the novel and the film. Even this shot in Stalker: snow falling in the Soviet Union film... 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