Andrei Tarkovsky
Andrei Arsenyevich Tarkovsky was a Soviet film director and screenwriter of Russian origin. He is widely considered one of the greatest directors in cinema history. His films explore spiritual and metaphysical themes and are known for their slow pacing and long takes, dreamlike visual imagery and preoccupation with nature and memory.
Tarkovsky studied film at the All-Union State Institute of Cinematography under filmmaker Mikhail Romm and subsequently directed his first five features in the Soviet Union: Ivan's Childhood, Andrei Rublev, Solaris, Mirror, and Stalker. After years of creative conflict with state film authorities, he left the country in 1979 and made his final two films—Nostalghia and The Sacrifice —abroad. In 1986, he published Sculpting in Time, a book about cinema and art. He died later that year of cancer, a condition possibly caused by the toxic locations used in the filming of Stalker.
Tarkovsky was the recipient of numerous accolades throughout his career, including the FIPRESCI prize, the Prize of the Ecumenical Jury and the Grand Prix Spécial du Jury at the Cannes Film Festival in addition to the Golden Lion at the Venice Film Festival for his debut film, Ivan's Childhood as well as the BAFTA Film Award for The Sacrifice. In 1990, he was posthumously awarded the Soviet Union's prestigious Lenin Prize. Three of his films—Andrei Rublev, Mirror, and Stalker—featured in Sight & Sound 2012 poll of the 100 greatest films of all time.
Life and career
Childhood and early life
Andrei Tarkovsky was born in the village of Zavrazhye in the Yuryevetsky District of the Ivanovo Industrial Oblast to the poet and translator Arseny Aleksandrovich Tarkovsky, a native of Yelysavethrad of Ukrainian parentage, and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute who later worked as a proofreader; she was born in Moscow in the Dubasov family estate.Andrei's paternal grandfather Aleksandr Karlovich Tarkovsky was a Polish nobleman who worked as a bank clerk. His wife Maria Danilovna Rachkovskaya was a Romanian language teacher who arrived from Iași. Andrei's maternal grandmother Vera Nikolayevna Vishnyakova belonged to an old Dubasov family of Russian nobility that traces its history back to the 17th century; among her relatives was Admiral Fyodor Dubasov, a fact she had to conceal during the Soviet days. She was married to Ivan Ivanovich Vishnyakov, a native of the Kaluga Governorate who studied law at the Moscow State University and served as a judge in Kozelsk.
According to the family legend, Tarkovsky's ancestors on his father's side were princes from the Shamkhalate of Tarki, Dagestan, although his sister, Marina Tarkovskaya, who conducted detailed research on their genealogy, called it "a myth, even a prank of sorts," stressing that no document confirms this narrative.
Tarkovsky spent his childhood in Yuryevets. His father left the family in 1937, subsequently volunteering for the army in 1941. He returned home in 1943, having been awarded the Order of the Red Star after being shot in one of his legs. Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press.
In 1939, Tarkovsky enrolled at the Moscow School No. 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrei Voznesensky was one of his classmates. He studied piano at a music school and attended classes at an art school. The family lived on Shchipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948 he was in the hospital with tuberculosis. Many themes of his childhood—the evacuation, his mother and her two children, the withdrawn father, the time in the hospital—feature prominently in his film Mirror.
In his school years, Tarkovsky was a troublemaker and a poor student. He still managed to graduate, and from 1951 to 1952 studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the Soviet Union. He did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureyka near Turukhansk in the Krasnoyarsk Province. During this time in the taiga, Tarkovsky decided to study film.
Film school student
Upon returning from the research expedition in 1954, Tarkovsky applied at the State Institute of Cinematography and was admitted to the film-directing program. He was in the same class as Irma Raush whom he married in April 1957.The early Khrushchev era offered good opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw relaxed Soviet social restrictions a bit and permitted a limited influx of European and North American literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Wajda and Mizoguchi.
Tarkovsky's teacher and mentor was Mikhail Romm, who taught many film students who would later become influential film directors. In 1956, Tarkovsky directed his first student short film, The Killers, from a short story of Ernest Hemingway. The longer television film There Will Be No Leave Today followed in 1959. Both films were a collaboration between the VGIK students. Classmate Aleksandr Gordon, who married Tarkovsky's sister, in particular directed, wrote, edited, and acted in the two films with Tarkovsky.
During his third year at the VGIK, Tarkovsky met Andrei Konchalovsky. They found much in common as they liked the same film directors and shared ideas on cinema and films. In 1959, they wrote the script Antarctica – Distant Country, which was later published in the Moskovskij Komsomolets. Tarkovsky submitted the script to Lenfilm, but it was rejected. They were more successful with the script The Steamroller and the Violin, which they sold to Mosfilm. This became Tarkovsky's graduation project, earning him his diploma in 1960 and winning First Prize at the New York Student Film Festival in 1961.
Film career in the Soviet Union
Tarkovsky's first feature film was Ivan's Childhood in 1962. He had inherited the film from director Eduard Abalov, who had to abort the project. The film earned Tarkovsky international acclaim and won the Golden Lion award at the Venice Film Festival in the year 1962. In the same year, on 30 September, his first son Arseny Tarkovsky was born.In 1965, he directed the film Andrei Rublev about the life of Andrei Rublev, the fifteenth-century Russian icon painter. Andrei Rublev was not, except for a single screening in Moscow in 1966, immediately released after completion due to problems with Soviet authorities. Tarkovsky had to cut the film several times, resulting in several different versions of varying lengths. The film was widely released in the Soviet Union in a cut version in 1971. Nevertheless, the film had a budget of more than 1 million rubles – a significant sum for that period. A version of the film was presented at the Cannes Film Festival in 1969 and won the FIPRESCI prize.
He divorced his wife, Irina, in June 1970. In the same year, he married Larisa Kizilova, who had been a production assistant for the film Andrei Rublev. Their son, Andrei Andreyevich Tarkovsky, was born in the same year on 7 August.
In 1972, he completed Solaris, an adaptation of the science fiction novel Solaris by Stanisław Lem. He had worked on this together with screenwriter Friedrich Gorenstein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury, and was nominated for the Palme d'Or.
From 1973 to 1974, he shot the film Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. In this film Tarkovsky portrayed the plight of childhood affected by war. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Soviet authorities placed the film in the "third category", a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity. These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.
During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin.
The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky had a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival. In a question and answer session at the Edinburgh Filmhouse on 11 February 1981, Tarkovsky trenchantly rejected suggestions that the film was either impenetrably mysterious or a political allegory.