Tarkovsky classic explores the nature of faith and sin and art and creativity as seen through the eyes of several Russian icon paintersĪt a surprisingly fluid pace despite the film’s length, Tarkovsky and cowriter Andrei Konchalovsky ( Runaway Train, Maria’s Lovers) explore such issues as sin, guilt, fear of God, vanity, loyalty, jealousy, poverty, and the search for truth, with Rublev often more of a secondary character or commentor. A gentle, slow-moving man with a deep contemplation of existence, Rublev, along with his traveling companions and fellow painters Daniil (Nikolai Grinko) and Kirill (Ivan Lapikov), encounters a skomorokh (Rolan Bykov) performing in a barn before being interrupted by the authorities meets up with aging master Theophanus the Greek (Nikolai Sergeyev) has a falling-out with Kirill is joined by a new apprentice, Foma (Mikhail Kononov) comes upon a pagan bacchanalia in the woods befriends the beautiful holy fool Durochka (Irma Raush, Tarkovsky’s wife at the time) finds himself in the middle of a power struggle between the grand prince and his brother, leading to a brutal Tatar invasion takes a vow of silence after committing a major sin and watches as a young boy, Boriska (Nikolai Burlyayev, who played Ivan in Tarkovsky’s feature debut), leads the construction of a church bell in a small town, the ropes surrounding the lifting of the bell referencing the ones that Yefim hung from earlier, each trying to get closer to God in their own way. Tarkovsky then spreads out his tale over the course of eight vignettes, some of which feature Rublev (Anatoly Solonitsyn) as a minor character, more of a background observer than the protagonist. I wanted to use the example of Rublyov to explore the question of the psychology of artistic creativity, and analyse the mentality and civic awareness of an artist who created spiritual treasures of timeless significance.” The film begins with a seemingly unrelated prologue in which a man named Yefim (Nikolay Glazkov) takes off in a hot-air balloon as the townspeople try to prevent him from flying, as if he is defying God by soaring in the sky. “I was interested in something else: I wanted to investigate the nature of the poetic genius of the great Russian painter. “I knew it would certainly not be a historical or biographical work,” Tarkovsky wrote in his 1986 book Sculpting in Time.
But it is much more than a historical, biographical look at the real-life figure during the creation of tsarist Russia. Soviet auteur Andrei Tarkovsky followed up his dazzling debut, Ivan’s Childhood, with the three-and-a-half-hour epic Andrei Rublev, a quietly powerful tale of a monk and icon painter making his way through early fifteenth-century Russia.
#Andrei rublev iconographer apprentice series#
Series continues Friday nights through August 28 Icon painter Andrei Rublev (Anatoly Solonitsyn) takes off on an epic journey in Soviet masterpieceĪNDREI RUBLEV (ANDREY RUBLYOV) (Andrei Tarkovsky, 1966)Ģ Columbus Circle at 58th St.
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