Андрей Рублёв
HD
| Release Date | : | 1966-12-16 |
| Runtime | : | 206 min. |
| Genres | : | Drama, History |
| Production Company | : | Mosfilm |
| Casts | : | Anatoliy Solonitsyn, Ivan Lapikov, Nikolay Grinko, Nikolai Sergeyev, Irma Raush, Nikolay Burlyaev, Yuriy Nazarov, Mikhail Kononov, Yuriy Nikulin, Bolot Beyshenaliev |
| Plot Keywords | : | painter , rape , russia , artist , power , icon , independent film , teacher , torture , middle ages |
An expansive Russian drama, this film focuses on the life of revered religious icon painter Andrei Rublev. Drifting from place to place in a tumultuous era, the peace-seeking monk eventually gains a reputation for his art. But after Rublev witnesses a brutal battle and unintentionally becomes involved, he takes a vow of silence and spends time away from his work. As he begins to ease his troubled soul, he takes steps towards becoming a painter once again.
Madiana Ryskulova
This movie illustrates how Andrei Rublev gets through challenging times in medieval Russia and, more importantly, overcomes his own psychological dilemma. Still, it is not just an autobiography of an artist, but it is an art itself. It shows the complex relationship between religion and art, their intertwining, and at the same time, the distinctive features that make art to be of a religious kind. In my review, I am going to argue that iconodulism as a religious art aims not only to strengthen and glorify one's faith, but also to test the artist about their own faith that should serve as a main motivation for creating their work of art.
There are several reasons that could serve as one's motivation to be a religious artist. For one, as for Kirill, it can be the recognition in a society. The main character Andrei with his fellow monks, Kirill and Daniil, from Andronikov Monastery were wandering in search of some work as icon painters, but only Andrei received an offer from Theophanes the Greek. That was a critical moment to test Kirill's intentions for this position. Although he was first invited by Theophanes, he asked him to do it again in an official form in front of all his fraternity, which he probably did for the sake of fame. It was confirmed by his emotions like anger and envy about Andrei's success, and his spontaneous decision to quit the monastery accompanied by slandering it. "The monastery has become like a bazaar!" - he yelled. When he violently killed the dog that wanted to go with him, it could also be an ill omen of a future disaster. For other people, as for Foma, Andrei's apprentice, painting icons is a production of art as a practical job. Every work connected with religious art was only another opportunity to improve his painting in the first place, so he was not really concerned with spiritual aspect of icons. That is why he readily agreed to work in another church of a smaller status. For those people, who are attached to both church and art, as Andrei, religious art has a deeper meaning than simply something people can honor in church. A true religious work of art cannot be done by instructions on the main theme, style, and deadline from above, that is why Andrei did not want to paint the Last Judgement. The situation was only aggravated when he knew
about the violent act ordered by the Grand Prince towards the rest of his party that refused to follow his instructions. Only artist's own ideas and experience (in that case, the appearance of a Yurodivy girl) can help them to develop a better work, that apparently was a feast instead of the Last Judgement.
Even though we could see how sincere motivation behind Andrei's religious art was, there were many cases that could utterly destroy someone's faith, but not Andrei's one. In the second episode of the film, when he was talking to Theophanes, we can observe how truly he believed in humanity and goodness of human beings. In contrast, Theophanes was very cynical about human beings' true nature, because they allowed Jesus Christ to be crucified and Judas was able to betray him, so "evil is all around." During his life, Andrei had to face situations that were challenging his faith. For example, the cruel order of the Grand Prince when he raged against innocent stone carvers, or persecutions of pagans. The most difficult time for Andrei's faith was during Tatars' invasion. Firstly, the invasion was not just Tatars' war against Russians, but it was a conflict between Russian and Russian as brothers, because the Grand Prince's own brother helped Tatars. Before the invasion, Andrei told Theophanes that people have to be reminded that they are people, they are Russians and they share one blood and one land. In the fifth episode, however, this belief could be easily broken by the brother's betrayal, which reminds us the act of Judas. Secondly, the invasion itself was very savage, because Tatars were killing everyone and demolishing the entire city. Even praying of the rest of the Vladimir residents in the temple did not help, Tatars were able to beat out its doors and kill the prayers. Andrei was witnessing how the icons he just finished painting were being destroyed, and, of course, it was painful for him to question if people really need the icons. Thirdly, he had to act against his principles of not to kill in order to save the life of the Yurodivy girl. He finally decided to stop painting and take a vow of silence. In my opinion, it was not just to atone for killing, but since he was very disappointed about people: "I have nothing to talk about with people."
The final scene is probably the most intriguing part of the movie, because it connects all the seven episodes and helps us eventually to build the whole picture in our mind. The success of a boy, Boriska, who never had any idea of how to cast a bell, finally returns Rublev faith in people, because he could witness people's happiness when the bell ringed. Yes, there are hardships everywhere, but as long as there is a meaning in religious acts for people, Andrei is motivated to resume his art. Ability of Boriska, who was also full of doubts about his craft, to bring happiness to people turns to be a sign for Andrei. The moment of Andrei giving a hug to Boriska and supporting him is so powerful that it can pass on this enormous power to viewers.
Briefly commenting on the cinematography, I should note the small budget allocated to the film that did not make it any worse. I am surprised how the filmmakers could animate the picture the way Hollywood movies with much greater budget and advanced technology rarely can. We could hear the true sounds of nature (fire, birds), and see its beauty (animals, woods) through black and white filming. This movie has a soul that we can feel through its atmosphere, emotions, honest acting that required many efforts, and thought-provoking, very interesting dialogs that involve philosophical and religious doubts.
I would like to conclude my review with the citation of the movie's director Tarkovsky: "Whether one wishes to fly before it has become possible, or cast a bell without having learned how to do it, or paint an icon - all these acts demand that, for the price of his creation, man should die, dissolve himself in his work, give himself entirely." In the case of Andrei Rublev, the test of his faith only reinforced it and, therefore, contributed to his later work.
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