NZIFF Classic Film Review: "Andrei Rublev" ("Андрей Рублёв") (1969).

From Andrei Tarkovsky, comes his sophomore effort, Andrei Rublev (Андрей Рублёв). This Soviet biographical historical drama film directed by Tarkovsky, co-written by Tarkovsky and Andrei Konchalovsky, and loosely based on the life of the 15th-century Russian icon painter of the same name. The film explores the life, times and afflictions of the fifteen century Russian painter of religious icons.

In 1961, during the making of his debut film Ivan's Childhood (1962), Tarkovsky pitched the film to Mosfilm. In December 1963, the treatment was approved. Tarkovsky and Konchalovsky then spent more than two years on the script, studying medieval writings, history and art with Savva Yamshchikov, a famous Russian restorer and art historian, as the film's consultant. Tarkovsky did not intend the film to be a historical or a biographical film. Instead, he was motivated by the idea of showing the connection between a creative character's personality and the times through which he lives. He wanted to show an artist's maturing and the development of his talent. He chose Andrei Rublev for his importance in the history of Russian culture. In April 1964 the script was approved and Tarkovsky began working on the film. Livanov was ultimately cast in the title role. In April 1965, with a budget of 1 million Rubles, principal photography commenced. Filming took place in Vladimir/Suzdal, Pskov, Izborsk and Pechory, as well as the Nerl River. The production was plagued with budget restrictions and turbulent weather. This resulted in several scenes from the script being cut, the shoot being disrupted from November 1965 to April 1966, and the budget ballooned to 1.3 million Rubles. In July 1966, the first cut of the film, known as The Passion According to Andrei (Страсти по Андрею, Strasty po Andryeyo), which ran over three hours and fifteen minutes, was completed. However, due to its length, negativity, violence, nudity and themes, cuts were demanded by the Soviet Union and was ultimately not released domestically until five years later. It was finally shown at the 1969 Cannes Film Festival. The released cut was trimmed down to three hours and six minutes and was retitled. Several versions of the film were made, including a U.S. version and a censored by the Soviet Union. Although censorship obscured and truncated the film for many years following its release, the film was soon recognised by many critics and filmmakers as a highly original and accomplished work. Since being restored to its original version, the film has come to be regarded as one of the greatest films of all time.

The film stars Anatoly Solonitsyn, Nikolai Grinko, Ivan Lapikov, Nikolai Sergeyev, Nikolai Burlyayev, and Irma Raush. Profound performances were given by the cast despite their dialogue being delivered in a deadpan manner.

Even though the story was sparse, the drama gloomy, the length of the film long as eternity, Tarkovsky has mixed daring with poetry in making Andrei Rublev. He shows the Russian figure as an individual troubled with the doubts and complexities of life and religion.

Simon says Andrei Rublev receives:

Also, see my NZIFF review for Apocalypse Now: Final Cut.