Andrei Rublev (1966 Russian film)

Andrei Rublev, Андрей Рублёв, is a 1966 Soviet biographic historical drama film directed by andrei tarkovsky and co-written with Andrei Konchalovsky. The film is loosely supported the lifetime of Andrei Rublev, the 15th-century Russian icon painter. The film features Anatoly Solonitsyn, Nikolai Grinko, Ivan Lapikov, Nikolai Sergeyev, Nikolai Burlyayev and Tarkovsky’s adult female Irma Raush. Savva Yamshchikov, a noted Russian trained worker and historiographer, was a scientific adviser of the film.

Andrei Rublev is about against the background of 15th-century Russia. though the film is merely loosely supported the life of Andrei Rublev, it seeks to depict a practical portrait of medieval Russia. Tarkovsky sought to form a movie that shows the artist as “a world-historic figure” and “Christianity as an axiom of Russia’s historical identity” throughout a turbulent period of Russian history that ultimately resulted within the Tsardom of Russia.

The film’s themes embody artistic freedom, religion, political ambiguity, autodidacticism, and the creating of art underneath a restrictive regime. thanks to this, it was not released domestically in the formally atheist Soviet Union for years when it was completed, except for one 1966 screening in Moscow. A version of the film was shown at the 1969 Cannes festival, wherever it won the FIPRESCI prize. In 1971, a expurgated version of the film was released in the Russia. The film was additional cut for business reasons upon its U.S. release through Columbia pictures in 1973. As a result, many versions of the film exist.

Although these problems with censorship obscured and truncated the film for several years following its release, the film was before long recognized by several western critics and film administrators as a highly original and accomplished work. Even additional since being repaired to its original version, Andrei Rublev has come to be considered one amongst the best films of all time, and has usually been hierarchical extremely in each the Sight & Sound critics’ and directors’ polls.

In 1961, while engaged on his 1st film Ivan’s Childhood, Tarkovsky created a proposal to Mosfilm for a movie on the life of Russia’s greatest icon painter, Andrei Rublev. The contract was signed in 1962 and the 1st treatment was approved in Dec 1963. Tarkovsky and his co-screenwriter Andrei Konchalovsky worked for over 2 years on the script, finding out medieval writings and chronicles and books on medieval history and art. In Apr 1964 the script was approved and Tarkovsky began engaged on the film. At the identical time the script was published in the influential film magazine Iskusstvo Kino, and was wide discussed among historians, film critics and normal readers. The discussion on Andrei Rublev focused on the sociopolitical and historical, and not the inventive aspects of the film.

According to Tarkovsky, the first plan for a movie about the lifetime of Andrei Rublev was thanks to the film actor Vasily Livanov. Livanov projected to write a script along with Tarkovsky and Konchalovsky while they were strolling through a forest on the outskirts of Moscow. He also mentioned that he would like to play Andrei Rublev. Tarkovsky failed to intend the film to be a historical or a story film concerning Andrei Rublev. Instead, he was actuated by the thought of showing the association between a creative character’s temperament and the times through that he lives. He wished to point out an artist’s maturing and the development of his talent. He selected Andrei Rublev for his importance within the history of Russian culture.

Andrei Rublev won many awards. In 1969, the film was screened at the Cannes festival. due to pressure by Soviet officers, the film could only be shown out of competition, and was so not eligible for the Palme d’Or or the auto race. nevertheless, it won the prize of the international film critics, FIPRESCI. In 1971 Andrei Rublev won the Critics Award of the French Syndicate of Cinema Critics, and in 1973 the Jussi Award for best foreign film.

J. Hoberman, a movie critic for The Village Voice, summarized the first reception of the film in the film notes enclosed in the Criterion DVD release of the film stating: “Two years later (in 1973), Rublev surface at the N.Y. film festival, cut another twenty minutes by its american distributor, Columbia pictures. TIME (magazine) compared the moving-picture show unfavourably to Dr. Zhivago; those other new york reviewers who took note begged off explication, citing Rublev’s apparent truncation.”

The film was graded No. eighty seven in Empire magazine’s “The 100 Best Films Of World Cinema” in 2010.

The film is documented in Tarkovsky’s 2 films that followed this one. it’s 1st referenced in Solaris, made in 1972, by having an icon by Andrei Rublev being placed in the main character’s room. it’s next documented by having a commercial of the film being stayed a wall in The Mirror, created in 1975.

In 2010, Andrei Rublev was honored when it came equal second during a U.K. newspaper series of the “Greatest Films of All Time” as voted by critics from The Guardian and also the Observer.

Also in 2010, the Toronto International film festival free its “Essential 100” list of films during which Andrei Rublev additionally placed No. 87.

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