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In Reply to: Re: What a miserable list posted by patrickU on February 03, 2004 at 08:36:54:
and Tarkovsky.
_____________________________"What is this, a freak-out?"
- Violet Beauregard
Follow Ups:
Is the Solaris criterion worth?
And what other titles ?
Well, Patrick, Tarkovsky's filmography is short enough to be covered completely. Start with The Steamroller and the Violin, and just keep going... avoiding the Stalker.But be careful - for all his talent, he is a strongly dehumanizing director.
.
Mirror is on his way.
Thanks Victor.
Mirror is also quite special to us because it has tree actors we simply love, and all doing very good job.I'd say, once you have the chance to see the Mirror (a light movie, if any of Tarkovsky's work could be considered light), I think you need to move onto Andrey Rublev - that one is probably his most substantial and profound work, it is large, deep and gruesome, and full of philosophy... I am sure you will dive in and swimm in it for many hours, as it is if not quite War and Peace, then at least a cinema equivalent of it.
I think it is the kind of movie you will just love!
You know W & P* is the movie I loved the most last year! The actors were so fine..It was a long and dear delight, if some day a better copy should happen I would not hesitate for one moment to buy it.
All in all if you search you may really find films worth your time and idea of what it should look like.* Tolstoi shine through.
PS: Still not looked at " Dinner Rush "....The dog......
I am getting growing feeling that you will love Rublev - so go ahead, get it NOW!Dinner Rush is a rather elegant rendition of a New York movie, I think you WILL find it entertaining. Nothing of a particularly great depth, but well worth a few bucks.
Done! I order the Criterion.
Thank you.
Mirror is on his way.
Thanks Victor.
Be sure to drink lots of it if you're trying to watch this film; at least it will help you sleep through that interminable tunnel scene and folks sitting around staring at each other.AuPh ;^)
Donīt worry I was at the cannes festival when Tarkoswky gave his press conference, back then and fell already in a deep winter sleep..Maybe I am now wake up enough...
A beautiful film, like no other...except, that is, for the other beautiful films which are like no other.Discreet Charm of the Bourgeoisie, 8 1/2, The Sacrifice, Double Life of Veronique, 2 or 3 things I know about her (or Pierrot le Fou, or Weekend...)...in my opinion, the very best films all hit the same high note, which is not so much 'dreamlike' in some generic filmspeak way, but the literal stuff of dreams, the very feeling of inner life, with all its vagaries. That's mastery. The Sacrifice occupies this same high ground.
Fellini, Godard, Tarkovsky and Bunuel are perhaps unique among the great directors in how consistently and effortlessly they achieve that sense of dislocation, which is still so familiar. They're like the best novelists in that regard. All truly great art, at the apex, achieves the exact same end. What that end is, exactly, I can't quite pin down. But I know it when I see it.
Sorry for the tangent.
_____________________________"What is this, a freak-out?"
- Violet Beauregard
Well..Thank you for this answer, no problem with the disgression, speaking of films is never a pain for me!PS : Did you really like " Week End? "
Sacrifice is perhaps the least Tarkovsky of Tarkovsky films - it is pure Bergman, albeit done on a lower scale.
it's also very much influenced by Kurasawa's I Live in Fear . An ambiguous and mystical refashioning.
but I do think you're right. I would also count Bergman among the group I mentioned, although I'd like to say something like The Sacrifice is the Bergman film I care about the most. Always something a bit academic about Bergman to me, I think that's a common criticism. The Sacrifice, then, is Bergman with a richer humanity, or something along those lines...
_____________________________"What is this, a freak-out?"
- Violet Beauregard
I don't think Bergman is academic... his "problem" is that he studies and he talks about the subject that is foreign to many viewers who were brought up watching lesser works - he is absorbed in the human soul. But once you break that initial barrier you discover that he is talking about YOU, and you find more and more of yoruself in his works, and they become unpretentious and comfortable, although still challenging your emotions and self-analysis.And it is so comfortable to know that that tradition is being continued by his student Liv Ullmann, whose Faithless is the masterpiece in its own right, but with extremely strong homage to the great Master.
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