Nikolai burlyayev biography sample

Tarkovsky&#;s masterpiece is one of the greatest films ever made about art and creativity

Director: Andrei Tarkovsky

Cast: Anatoly Solonitsyn (Andrei Rublev), Ivan Lapikov (Kirill), Nikolai Grinko (Danlil Chyorny), Nikolai Sergeyev (Theopanes the Greek), Irma Raush (Durochka), Nikolai Burlyayev (Boriska), Yuriy Nazarov (Prince Yury/Grand Duke Vasily I), Rolan Bykov (Jester), Mikhail Kononov (Foma)

I’ve always been a Tarkovsky sceptic. But Andrei Rublev is a masterpiece. Perhaps only Tarkovsky could have made a film about an artist and never once show a paintbrush in action or design a film about creativity that drips with shocking violence. Andrei Rublev avoids the cliches of cradle-to-grave biography – helped by the fact we know almost nothing about this medieval icon painter – presenting instead a series of vignettes suggesting possible influences on the work of an artist. It makes for an intriguing, fascinating film, challenging but infinitely rewarding.

Tarkovsky’s

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The Reveal

On December 1st, , Sight & Sound magazine published “The Greatest Films of All Time,” a poll that’s been updated every 10 years since Bicycle Thieves topped the list in It is the closest thing movies have to a canon, with each edition reflecting the evolving taste of critics and changes in the culture at large. It’s also a nice checklist of essential cinema. Over the course of many weeks, months, and (likely) years, we’re running through the ranked list in reverse order and digging into the films as deep as we can. We hope you will take this journey with us.

Andrei Rublev ()
Dir. Andrei Tarkovsky
Ranking: #67 (tie)
Previous rankings: #27 (),#27 (), #18 (), #12 ()

Premise: The place: Russia. The time: the first decades of the 15th century. It’s a muddy, brutal land where duplicitous princes and boyars rule over serfs with the help of Tatar warlords. It’s not, in other words, the sort of place where art naturally thrives, to say nothing of

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Ivan&#;s Childhood ()

Dir. by Andrei Tarkovsky

Images: Expressionistic camera angles, most notably in Ivan&#;s more terrifying dream sequences. Striking but occasionally heavy-handed symbolism, such as that beautiful cross amid the bombed-out landscape. Most memorable images are those that display Tarkovsky&#;s emerging aesthetic: the slow tracking shots through the birch forest, the close-ups of Ivan, the use of funnen footage, the final fantasy sequence.

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A few summers ago, I had the rare opportunity to see Stanley Kubrick’s “lost” films at a special screening presented by the Mary Pickford Theater at the Library of församling. His early shorts were interesting, of course, but the main attraction was his first feature, Fear and Desire (), a film that so embarrassed Kubrick in his later years that he reportedly collected and destroyed every print in circulation. According to the librarian who introduced the series, their print was discovered ganska accidentally — a treas