By Robert Bird

Andrei Tarkovsky (1932-1986) used to be one of many nice poets of global cinema. A fiercely self sustaining artist, Tarkovsky crafted poignantly appealing movies that experience confirmed inscrutable and been bitterly disputed. those characteristics are found in abundance in Andrei Rublev (1966), Tarkovsky's first absolutely mature movie. Ostensibly a biographical learn of Russia's most famed medieval icon-painter, Andrei Rublev is either lyrical and epic, starkly naturalistic and allegorical, authentically old and urgently topical. whereas a lot continues to be mysterious in Andrei Rublev, critics have lately all started to reappraise it as a groundbreaking movie that undermines cozy notions of existence and spirituality. Robert Bird's multifaceted account of Andrei Rublev extends this reevaluation of Tarkovsky's radical aesthetic by way of developing the film's old context and providing a considerably new interpreting of key scenes. poultry definitively establishes the film's tortured textual historical past, which has ended in greatly diversified types. He relates the movie to traditions in Russian artwork and highbrow background, yet ultimately his research makes a speciality of Andrei Rublev as a visible and narrative art that treats profound existential questions by way of difficult traditional notions of illustration and imaginative and prescient.

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V treleh tomalch (Iaroslavl': Verkhniaia Volga, 1997), voL 3,pp 157-67: 157 6 Andrei Tarkovskii, 'lskat' i dobivat'sia,' Sovet

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