Andrei Tarkovsky, the son of the famous Russian poet Arseny Tarkovsky, was born on April 4, 1932 in the village of Zavrazhye, Ivanovo Region. In 1951-1952 he studied at the Arabic department of the Middle East faculty of the Moscow Institute of Oriental Studies, then, in 1952-1953, he worked at the All-Russian Research Institute of Non-Ferrous Metals and Gold, worked in geological parties.
In 1960, Andrei Tarkovsky graduated from the directing department of VGIK, where he studied in the workshop of Mikhail Romm. The graduate work of the beginning director, the short film “Skating Rink and Violin”, at the New York Student Film Festival in 1961 received the main prize. Then he worked at the Mosfilm film studio. Andrei Tarkovsky was the author and co-author of the scripts “Antarctica is a distant country”, “One chance out of a thousand”, “Hoffmannian”, “Beware! Serpent! ”, He also starred in the films“ I am 20 years old ”,“ Sergey Lazo ”. During his studies, he directed a number of short films (“Assassins”). Andrei Tarkovsky brought his first full-length work, Ivan Childhood, based on a military story by V. Bogomolov “Ivan”, which brought world fame. This film has been awarded many prestigious film awards, including the "Golden Lion of St. Mark" of the Venice Festival.
In the future, all of Tarkovsky’s paintings became significant events in the country's cultural life, influencing the spiritual development of society. The film "Passion for Andrei" with Anatoly Solonitsyn in the title role, released in 1971 with abbreviations under the name "Andrei Rublev", was included in the list of 100 best films in the history of cinema. The life of the great icon painter served as a starting point for Tarkovsky's thoughts on the fate of the artist in Russia.
A special place in the work of the director is occupied by the tapes, which he put on the books of outstanding modern science fiction writers - Stanislav Lem and the Strugatsky brothers: “Solaris” and “Stalker”. Putting these works as the basis of his films, Andrei Tarkovsky philosophically rethought them, giving them a new sound. And between these films, he shot the autobiographical picture "Mirror".
Tarkovsky performed two theatrical productions: in 1972 - a play based on the play by V. Shakespeare “Hamlet” at the Lenin Komsomol Theater in Moscow, and in 1983 - Pushkin’s “Boris Godunov” in London at the “Covent Garden” stage.
In 1982, the director went to Italy, where he directed the film "Nostalgia" with Oleg Yankovsky in the title role of a Russian poet who died in Italy from homesickness. The subject of personal sacrifice was most developed in Sacrifice, the last film by Tarkovsky directed by the director in Sweden.
The last few years of his life, Andrei Tarkovsky spent in the West. In 1984, without receiving permission from the Soviet authorities to extend his stay abroad, Tarkovsky declared that he remained in the West. He cherished his time too much, as if anticipating that he was left with very little life. Meanwhile, the possibility of working in the USSR then seemed very problematic. Living in the West, the director still managed to make the film "Sacrifice", but this was his last film.
“Does death scare me?” - thought Andrey Tarkovsky in the documentary of Donatella Balivo, dedicated to his work. “In my opinion, death does not exist at all.” There is some kind of act, painful, in the form of suffering. When I think of death, I think of physical suffering, not death as such. Death, in my opinion, simply does not exist. I do not know. Once I dreamed that I was dead, and it seemed like the truth. I felt such a liberation, such an incredible lightness, that maybe it was the feeling of lightness and freedom that gave me the feeling that I was dead, that is, freed from all ties with this world. In any case, I do not believe in death. There is only suffering and pain, and often a person confuses it - death and suffering. I do not know. Maybe when I come across this directly, I will be scared, and I will argue differently. Hard to say".
No, he did not begin to argue differently. “About ten days before his death,” recalls his Italian friend cameraman Franco Terilli, “Andrei sent me a piece of paper from Paris with a glass and a rose on it.” It was already difficult for him to write. A few days before his death, they called me and asked me to call Andrei the next day — he wanted to tell me something very important. I could only call in a day. He picked up the phone but said nothing. I realized that he wanted to say goodbye to me in silence.
And a year before, it seems, in December 85, he called me from Florence: come now. I came. He was lying in bed and asked Larisa to leave us alone. “Don’t be afraid of what I’ll tell you,” Andrei said, “I’m not afraid of it myself.” He told me that the day before there was a call from Sweden - he had cancer, and that he had very little left to live. “I'm not afraid of death,” Andrei said it so calmly that I was amazed.
“It all started in Berlin, where the German Academy invited us,” says Larisa Tarkovskaya about Andrei’s illness. “He began to cough a lot, he had tuberculosis as a child, he coughed all the time and therefore did not pay attention to it. But when in September of the 85th he came to Florence to work on the installation of the “Sacrifice”, he constantly kept a low temperature, and this already bothered him. It feels like a lingering cold. At that moment, he fell ill. But we still had no idea.
When the news of the terrible diagnosis came, the Tarkovskys were in a difficult financial situation. Money for the “Sacrifice” has not yet been received, there was no medical insurance, and the course of treatment required significant money - 40 thousand francs. Only one scan examination cost 16 thousand. Money for this was given by Marina Vlady. Upon learning of the distress, she took out the checkbook without further ado and wrote out a check for the required amount. Subsequently, the husband of Marina Vladi, Professor Leon Schwarzenberg, became the attending physician of Andrei.
After the treatment, Andrei’s condition improved noticeably, and on July 11, 1986, he left the clinic. Marina Vlady settled the Tarkovsky family at home. At the time, the house of Marina Vlady became the house of Andrey. Tarkovsky continues to work on the installation of “Sacrifice,” and after a while leaves Paris for the Federal Republic of Germany to undergo another treatment course at a fashionable clinic (“on the advice of an unwise friend”, commented Marina Vlady).
Unfortunately, the fashion clinic did not save, although Andrei really hoped for it. As a result, he returned to Paris, and the last months of his life passed here. “He believed that he would recover,” says Larisa Tarkovskaya. “For some reason, he believed that God would help him. He especially perked up when his son arrived. Andrei worked until the last day, keeping his mind absolutely clear. He finished the final chapter of Sealed Time nine days before his death! The last days he took morphine for pain relief (“I’m swimming,” he said), but his consciousness was clear, some kind of internal energy helped him always be collected. And until the last hour he was fully conscious. I remember that on the last day of his life he called me on the phone, I came to him. He joked with me, laughed. I was afraid that I would leave. At seven o'clock the nurse came, and I had to go. I didn’t sleep before that for three months - it was necessary to give him medicine every three hours.
December 29, 1986, Andrei Tarkovsky died. Hundreds of people came to the courtyard of St. Alexander Nevsky Cathedral, where Andrei was buried. On the church steps, Mstislav Rastropovich played the sublimely strict Bach Sarabande on the cello.
And the last refuge of Andrei Tarkovsky was a cemetery in the suburbs of Paris - Sainte-Genevieve-des-Bois.
Photo: Andrey Tarkovsky
Biography of Andrei Tarkovsky
Tarkovsky-director is known in all corners of the planet. His films have been translated into dozens of languages. And sometimes, revising them, it seems that we know absolutely everything about their author, because a part of his soul lives in each of them.
But what do we know about Tarkovsky as a person? What was his path to art and what contribution did he leave in Soviet and world cinema? We will try to understand this today.
The childhood and youth of Andrei Tarkovsky
Andrei Tarkovsky was born in the small village of Zavrazhye, near the city of Yuryevets, Ivanovo Region. His father - Arseny Tarkovsky - was a famous Soviet poet, and his mother worked as a proofreader in one of the printing houses. The father of the future director left the family when Andrei was only three years old. Their family lived quite poorly. The wooden house was constantly cold, but there was not enough money for anything.
When the war began, the Tarkovsky family was evacuated to Yuryevets. The director’s mother, Maria Yuryevna, crossed the river every morning on thin ice to get some potatoes in a nearby village. However, in the provincial town, the Tarkovsky family did not live long. Soon, the mother of the future director gets a job at the Moscow First Model Printing House, and the whole family moves to the capital of the USSR.
Here Andrei Tarkovsky begins to attend high school. However, the natural sciences almost never interested him. Tarkovsky showed much greater zeal when it came to art disciplines. From early childhood, he learned the basics of playing the piano at the district music school, from the age of fourteen he began to attend painting classes at the art school.
In 1951, Andrei entered the Moscow Institute of Oriental Studies at the “Arab” faculty. However, a year later he left classes, noting that he had chosen the profession somewhat hastily.
In 1952, Tarkovsky joined the geological party and went to work as a collector on the Kureyka River. The year spent in the taiga, according to Andrei Arsenievich himself, was the best in his life. Here, alone with nature and himself, Tarkovsky will finally strengthen his decision to become a director.
Career Director Andrei Tarkovsky
In 1954, Tarkovsky entered VGIK, where he began to comprehend all the wisdom of directing. While still a student, Andrei Arsenievich will make a number of short films, which will be noted by many famous critics. However, his real film debut took place only in 1962, when the film "Ivan's Childhood" was released on the screens of the Soviet Union. The film brought Tarkovsky the first success as a director, and was also awarded many prestigious film awards (including the Golden Lion of the Venice Festival). Such success instantly made Tarkovsky famous, and allowed the director to begin work on some new projects. Already in the autumn of 1964, he, together with Konchalovsky, began work on the painting “Passion for Andrei,” which will be released in 1966 under a new name - “Andrei Rublev.”
The success of the new film finally strengthened Tarkovsky in the rank of one of the most popular directors of that time. In the period from 1967 to 1979, the director makes several more iconic films. Most popular ones
become the tape "Solaris", "Mirror", "Stalker". Together with the filming of films, Tarkovsky is working on theater and radio shows.
The late work of Andrei Tarkovsky
In 1983, Tarkovsky visited in London. Here, on the stage of the famous Covent Garden Theater, he performs the opera Boris Godunov. Almost immediately after the premiere, the director goes on another journey - to Stockholm. In 1984, Sweden began work on the script for Tarkovsky’s latest film, Sacrifice. On July 10 of that year, he briefly looked into Milan, where at a press conference he announced that he did not want to return to the Soviet Union.
In the spring of 1985, Tarkovsky will finish work on his latest film, Sacrifice, which takes place in Sweden. This tape will receive the Grand Prix of the Cannes Film Festival, the prize of the British Film Academy, as well as a huge number of other awards. However, the director will not know about many of them.
At the end of 1985, he was diagnosed with cancer. Trying to cling to life, Tarkovsky goes to Paris, where he undergoes a long course of chemotherapy. But the treatment is unsuccessful.
On December 29, 1986, Tarkovsky dies.
Personal life of Andrei Tarkovsky
While still a student at VGIK, Tarkovsky met a girl named Irma Rausch. It was she who became his first wife. As the director himself admitted, Irma was the first woman who always understood and supported him. She was noted in two films by Andrei Tarkovsky and even received several awards for her roles in the movie, but soon she also began to work as a director.
From the first marriage, the famous author has a son Arseny. Tarkovsky’s first marriage broke up in 1970. According to the director’s friends, the reason for this was his romance with a young girl Larisa Kizilova, who worked with him on the film “Andrei Rublev”. Their communication was very strange: all her life she called Tarkovsky to “you” and was literally crazy about him. When the director died, she died after him.
Upon returning from the expedition in 1954, Tarkovsky submitted documents to the All-Russian State Institute of Cinematography and was admitted to the directing department in the workshop of Mikhail Romm. “This choice was more random than conscious,” he later admitted.
The years of study and early work of Tarkovsky coincided with a period of renewal in art. In 1953, it was decided to increase the production of films. In 1954, when Tarkovsky entered VGIK, 45 films were shot, and a year later - already 66. An important role in the development of Tarkovsky was also played by the fact that shortly before him the military generation came to the institute, who had to update both themes and figurative means of expression in the cinema. In 1955-1956, young directors made about 50 films. During this period, many young screenwriters, cameramen, and actors also made their debut.
It was the time of the “Khrushchev thaw”, the beginning of which was the exposure of the personality cult of Stalin at the XX Congress of the CPSU in 1956. The thaw of the thaw brought Western literature and music, foreign author's cinema, Italian neorealism and the French “new wave” on Wednesday among young people. In Western film criticism, the term "oter"(From French auteur), denoting the single author of the film, under the control of which were all aspects of filmmaking, from script to editing. All this pushed Tarkovsky to the idea of author's cinema. During these years, Bunuel and Bergman had a great influence on him, and later Kurosawa and Fellini were added to them.
The main teacher and mentor of Tarkovsky during his studies was Mikhail Romm, who brought up a galaxy of talented filmmakers. Representative of the narrative and genre cinema of the 1930s, which many of his students denied and critically rethought, Romm nonetheless developed a creative individuality and fidelity to his truth in them. He also helped them out in case of trouble, lent them money, patronized them at film studios, defended their work, sometimes refuting his own.
Tarkovsky’s first term paper was the short film Killers, set in the fall of 1956 with Alexander Gordon and Marika Beiku based on a story by Hemingway. This work was praised by Romm. It was followed by a short film “There Will Be No Dismissal Today ...” (1957). In the third year, Tarkovsky met Andron Konchalovsky, at that time a freshman in the directing department. From that moment their creative friendship began. A. Konchalovsky recalled:
Tarkovsky and I grew up under the sign of denial of much of what was in the cinema.It seemed to us that we know how to make a real movie. The main truth is in the texture, so that it is clear that everything genuine is stone, sand, sweat, cracks in the wall. There should be no makeup, plaster, hiding the living texture of the skin. Costumes should be unglazed, not washed. We did not recognize Hollywood or, what was the same for us, Stalinist aesthetics. The feeling was that the world lay at our feet, there were no barriers that we could not overcome.
Together, friends wrote the script "Antarctica, a distant country" (1959), excerpts from which were published in the newspaper Moskovsky Komsomolets. Tarkovsky proposed the script for the Lenfilm film studio, but was refused. They successfully sold their next joint script, Skating Rink and Violin (1960), to Youth, which was just created at Mosfilm. It was a sentimental story about a short friendship between a boy violinist and a skating rink driver.
Having received permission to put “Skating rink and violin” as a thesis, Tarkovsky attracted the young cameraman Vadim Yusov to the set. The concept was influenced by the short film by the French director Albert Lamoris “The Red Ball”, which was awarded the Grand Prix of the Cannes Film Festival and Oscar in 1956. This first joint work of Tarkovsky and Yusov, marked by the emancipation of the camera and color expressiveness, received the first prize at the student film festival in New York in 1961. In connection with Skating rink and violin, Maya Turovskaya wrote:
Andrei Tarkovsky will never regard art as a craft, entertainment, or source of income. It will always be for him not only a matter of his own life, but also a matter for his whole life, an act. This high respect for art was first expressed by him in a short children's story.
In 1960, Tarkovsky graduated with honors from VGIK.
Career in the Soviet Union
In 1961, Tarkovsky applied for the film “Andrei Rublev,” which required a lot of preparatory work. Therefore, his first full-length production was the film “Ivan childhood” based on the military story of Vladimir Bogomolov “Ivan”. The piercing and tragic story of a teenager (Nikolai Burlyaev), in which the bright world of childhood was contrasted with the grim realities of war, made a real sensation in world cinema. The film was awarded the "Golden Lion of St. Mark" of the International Film Festival in Venice (1962) and many other film awards. With an obvious attraction to the style of Bresson and Kurosawa, the young Soviet director showed the independent talent of an original-minded artist.
Meanwhile, Tarkovsky began work on a film about Andrei Rublev, in which the title character was in a painful search for himself in relations with the world, with people. In the script, written in conjunction with A. Mikhalkov-Konchalovsky, he looked through both the costume-historical epic and the author’s sermon film. Filming began in 1964 and lasted more than a year. At this time, a transition from a thaw to stagnation was outlined in the country. Work on the film was slow and difficult. Soviet art officials saw in him unprofitable parallels with modern reality, many of them were also annoyed by its unusual form. “Andrei Rublev” (the original version of the name is “Passion for Andrei”) was subjected to elaboration and censorship amendments.
In 1969, the French company, which received the rights to the foreign rental of Andrei Rublev, showed it out of competition at the Cannes Film Festival, where he was awarded the FIPRESCI prize. On October 19, 1971, the film was finally released to the domestic distribution with a limited number of film copies and since then has practically remained on the screen. Maya Turovskaya wrote:
Tarkovsky’s films have always stunned novelty, difficult for the average perception. The officials did not understand them, it seemed that the audience would not understand them either. In fact, Tarkovsky always had “his own”, a faithful and loyal viewer, as is his “own” reader in poetry.
In 1970, after an almost five-year hiatus, Tarkovsky began shooting the film Solaris. The heroes of this philosophical and fantastic drama based on the novel of the same name by Stanislav Lem are representatives of the technocratic civilization of the future, living in the artificial world of a space station, exploring the planet Solaris. However, Tarkovsky here also revealed his idea of the original “divine” spirituality of man, taking it beyond national and cultural borders: the Rublev Trinity coexisted on an equal footing with Bach’s music and P. Brueghel’s paintings, and the composition of the final frame was a literal quote “The Return of the Prodigal Son” Rembrandt. In 1972, Solaris was shown at the Cannes Film Festival and, in addition to the Special Jury Prize, also received the Ecumenical Jury Prize. In 1973, the film was released in the Soviet box office.
In 1974, the director made his most confessional film, The Mirror. In it, he did not confine himself to the framework of the traditional plot and offered a rich set of visual associations and memories of the artist - author and hero. The semantic structure of the film turned out to be surprisingly multidimensional - along with philosophical and poetic "codes" in some episodes the anti-totalitarian subtext was read (episode in the printing house, etc.). At a joint meeting of the Goskino board and the secretariat of the board of the Union of Cinematographers, Zerkalo was recognized as an obscure, non-mass, and generally unsuccessful film. Tarkovsky expressed his opinion on this subject:
Since cinema is still an art, it cannot be understood more than all other forms of art ... I do not see any sense in mass ... Some kind of myth was born about my inaccessibility and incomprehensibility. To assert oneself as a peculiar personality is impossible without differentiation of the viewer.
The film "Mirror" was released in limited release and exacerbated the hidden confrontation between the director and the authorities. In preparation for a new project, Tarkovsky wrote scripts, delivered lectures on directing (1977-1978) at the Higher Courses of Scriptwriters and Directors, and staged the play "Hamlet" (1977) at the Lenin Komsomol Theater. The director spoke about this work at a meeting with Kazan film enthusiasts:
I directed “Hamlet” not because of mastering the profession of theater director, but because of the play itself, since I love it very much. And I also wanted to see in the role of Hamlet my favorite actor A. Solonitsyna. My dream is to put “Hamlet” in the cinema, but this is not the time, because the production of G. Kozintsev, the director whom I respect, has not been erased from my memory. But someday I hope to put Hamlet in the movies. Work in the theater was useful to me, as it made me understand the specifics of the work of the theater director, which differs from the specifics of work in the cinema.
The film “Stalker”, shot in 1979 on the Strugatsky brothers novel “Roadside Picnic”, looked like a compromise: the menacingly mysterious and at the same time promising fulfillment of any desires was perceived by the Zone as a hint of a crisis of technocratic (that is, “capitalist”) civilization, including the key could also be interpreted as the meaning of the dialogue between the writer (Anatoly Solonitsyn) and the professor (Nikolai Grinko). In 1980, Stalker was shown at the Cannes Film Festival and received the Ecumenical Jury Prize. The film was released in Soviet rental in the amount of 196 copies.
In 1980, Tarkovsky was awarded the title of People's Artist of the RSFSR. In the same year, the director went to Italy to work on the script for the film "Nostalgia", a contract with the Italians for the filming was signed in March 1982. Immediately after this, Tarkovsky left for Italy. On April 4, 1982, he turned 50 years old, however, no jubilee texts were published in his homeland, no formal celebrations were organized at the Cinema House. During the search for nature, the director made the documentary “Travel Time” (1982). In 1983, the film "Nostalgia" was screened at the Cannes Film Festival and won the Director's Prize, the FIPRESCI Prize and the Ecumenical Jury Prize.
After the end of the business trip, Tarkovsky and his wife Larisa continued to stay in Italy and sent a letter from Rome to the chairman of the USSR Goskino, Philip Ermash, asking him to give him, his wife, mother-in-law and 12-year-old son Andrei the opportunity to live in Italy for three years, after which he pledged to return to the USSR. On June 29, 1983, Yermash sent a secret memo to the CPSU Central Committee:
Having considered the appeal of A. Tarkovsky, the Goskino of the USSR considers that his decision to stay abroad is hardly the result of emotional instability and a certain setback at the Cannes Film Festival, from where A. Tarkovsky expected to return with the main prize. Focusing on his own egocentric understanding of the artist’s moral duty, A. Tarkovsky apparently hopes that in the West he will be free from the class influence of bourgeois society and will be able to create, regardless of his laws. (...) In any case, the Goskino of the USSR does not consider it possible to accept the conditions of A. A. Tarkovsky, bearing in mind that satisfying his request will create an undesirable precedent.
September 16, 1983 Tarkovsky wrote to his father:
I am very sad that you had the feeling that I had chosen the role of an “exile” and I was almost going to leave my Russia ... I don’t know who would benefit from interpreting the difficult situation in which I found myself “thanks” to many years of persecution by the Goskino authorities , and, in particular, Ermash - its chairman. Maybe you didn’t count, but I’m out of twenty-plus years of work in Soviet cinema - about 17 were hopelessly unemployed. Goskino did not want me to work! I was persecuted all this time and the last straw was the scandal in Cannes, where everything was done so that I did not receive a prize (I received three of them) for the film "Nostalgia". I consider this film to be highly patriotic, and many of the thoughts that you bitterly reproach me have been expressed in it.
In November 1983, the premiere of Mussorgsky’s opera Boris Godunov staged by Tarkovsky was premiered on the stage of the Royal Covent Garden Theater in London.
On July 10, 1984, at a press conference in Milan, the director announced his decision to stay in the West, that is, he became a defector. At home, he was banned from showing his films in cinemas, and mentioning his name in print. However, they did not dare to take radical measures - depriving Tarkovsky of Soviet citizenship.
City Hall of Florence gave him an apartment and awarded the title of honorary citizen of the city.
Filmed in Sweden, the film “Sacrifice” (1985) was the last work of the director. On December 13, 1985, doctors diagnosed him with lung cancer.
When the news of Tarkovsky’s disease reached the USSR, the authorities finally allowed his son Andrei to fly to his father. At the same time, the ban on behalf of Tarkovsky was lifted - his films were again allowed to be shown in cinemas.
Tarkovsky died in Paris on December 29, 1986, at the 55th year of his life. On December 31, 1986, the Mayak radio station was broadcast by an obituary, and on January 1, 1987, it was published in the Sovetskaya Kultura newspaper, an official notice from the Goskino and the Union of Filmmakers of the USSR. It had the following words:
Recent years - a difficult, critical time for him - A. Tarkovsky lived and worked outside the homeland, which he had to think with bitterness and regret. It was neither possible to agree with nor reconcile with ...
The funeral took place on January 5, 1987, after a funeral service in the church of St. Alexander Nevsky and a memorial service at the Russian cemetery of Sainte-Genevieve-des-Bois near Paris. First, Tarkovsky was buried in a strange grave - Yesaul Vladimir Grigoriev (1895-1973). After a year, the necessary funds were found, and on December 29, 1987, the ashes were transferred to a new place. Larisa Tarkovskaya paid 200 years in advance for the grave. In 1994, according to her sketch, a tombstone was made, on it there was an inscription: “To the man who saw the angel”, seven steps were carved at the base of the cross according to the number of Tarkovsky films.
Many of the director’s projects have remained unrealized, including “Hoffmanian”, “My Dostoevsky”, “Hamlet” by Shakespeare, “Oblomov” Goncharov, “Death of Ivan Ilyich” Tolstoy, “Idiot” and “Teenager” Dostoevsky, “Life of Klim Samgin” Gorky , “Essays on the Bursa” by Pomyalovsky, “The Steppe Wolf” by Hesse, “The Fifth Gospel” by Rudolf Steiner, “The Magic Mountain”, “Joseph and His Brothers”, “Dr. Faustus” by Thomas Mann.
In 1990, Andrei Tarkovsky was posthumously awarded the Lenin Prize.
The first marriage - with classmate Irma Rausch - lasted from 1957 to 1970. In this union in 1962, the son of Arseny was born.
In the summer of 1970, Tarkovsky married Larisa Kizilova (April 15, 1938 - February 19, 1998), who worked as an assistant on the film "Andrei Rublev." On August 7, their son Andrei was born.
“There are things that you simply must know - and among them, of course, Tarkovsky. For Western filmmakers, it’s the God of cinematography, ”said British filmmaker Danny Boyle. Many modern filmmakers are proud to consider themselves, if not students and followers, then at least fans of Tarkovsky, who really had a huge impact on world cinema.
The most striking example of recent times is the Mexican director Alejandro González Iñárritu's film "Survivor", in which critics and attentive viewers found a number of quotes and borrowings from Tarkovsky. At the same time, Inyarritu never hid his love for Tarkovsky’s films, and while preparing for the filming of “Survivor,” he even handed over the CD with Andrei Rublev to production designer Jack Fisk, and he immediately understood what kind of film it would be.
In the West, Tarkovsky’s “main student” is considered to be Dane Lars von Trier, who dedicated his film “Antichrist” to the master. The direct connection between the Antichrist and Tarkovsky’s legacy was directed by the director Andrei Zvyagintsev, referring to the entry in the Martyrology, which seemed to be the source of the film von Trier: “New Joan of Arc” - the story of how one person burned his lover, tying her to a tree and laying a fire under her legs. For the lie. " References to Tarkovsky can be found in many other films of Trier, and one of the chapters of the Nymphomaniac is even called The Mirror.
Turkish director Nuri Bilge Ceylan, owner of the Golden Palm Branch for Hibernation, rated Mirror above all other films of world cinema. In second place on the list of his personal passions is Andrei Rublev. About Tarkovsky, Ceylan said:
After watching his films, you can no longer look at the world as you did before. Your worldview immediately changes - there are so many different nuances, new details ... Tarkovsky opened a new vision for life in all aspects - in language, in the manner of narration. It was his own message to the world, which turned out to be very close to many.
The influence of this message is noticeable in every Cylan film. All of them are close to Tarkovsky both in the pictorial decision, and in intonation, and in meaning.
Tarkovsky’s tradition is continued by Turkish director Semih Kaplanoglu:
Tarkovsky is one of the most important directors for me. At one time, his films changed my view of cinema, I realized that poetry can be created not only on paper, but also on the screen.
Kaplanoglu dystopia “Grain” (2017) is a free retelling of the Stalker by the Strugatsky, a kind of dedication to the Tarkovsky film.
American director Steven Soderbergh even dared to challenge Tarkovsky in the form of a remake. He presented his version of Solaris (2002) not as an independent adaptation of the novel by Stanislav Lem, but as a rethinking of the cult film by Tarkovsky, as a creative dialogue after three decades.
Critics also noted a clear connection with Christopher Nolan's Solaris film Interstellar. This applies to both general motives (for example, a comparison of the cosmos and why the house), as well as the manner of narration.
Tarsem Singh, an American-born director of Indian origin whose childhood was spent in Iran, also explains his love for Tarkovsky.Talking about his film “Snow White: Revenge of the Dwarves” (in the original “Mirror Mirror”, that is, “Mirror Mirror”), he admitted that when creating a snowy forest he was inspired by shots of a birch grove from “Ivan's childhood”. But even before coming to the big movie, Singh frankly quoted “Sacrifice” in his R.E.M. clip Losing My Religion (1991).
In Russia, critics from the first films consider Alexander Sokurov to be the “Tarkovsky’s heir,” and Andrei Zvyagintsev earned them the title “Our Tarkovsky Today.” Konstantin Lopushansky admitted that the experience of working as an assistant to Tarkovsky on Stalker helped him form as an artist.
In 2018, a derivative of the adjective from the name of the director Tarkovskian was included in the Oxford English Dictionary.
On November 28, 2012 in London, tenders were held organized by the Sotheby's auction house, where a collection of materials related to the life and work of Andrei Tarkovsky was put up for sale. She was collected and stored by a close friend and personal secretary of the director, film critic Olga Surkova, who has been living in Amsterdam since 1982. Lot number 187 impressed collectors. 22 participants fought for the Tarkovsky archive, three came to the finish line - Danish film director Lars von Trier, an unknown collector from Latvia and a representative of the Ivanovo region. The price from the originally announced - at one hundred thousand pounds - has grown ten times in 18 minutes. As a result, the lot was bought for 1,497,250 pounds (about 74 million rubles) by a representative of the Ivanovo region.
Financial assistance in acquiring the archive was provided by the National Copyright Holders Support Foundation, established by the Russian Copyright Society (RAO) and the Russian Union of Copyright Holders (RSP). In addition, money was received from patrons, including politicians and businessmen, as well as partners of the Andrei Tarkovsky International Film Festival “Zerkalo”.
The archive is a diary, letters and a complete collection of manuscripts dedicated to the creation of the book "Sealed Time." 32 audio tapes, 13 mini-disks (digitized tapes) with Tarkovsky’s voice, four large photo albums, including photographs of the director’s foreign trips, printed directorial versions of the scripts “White, White Day” (“Mirror”), “Solaris”, “Stalker” that differ from the final versions, as well as the storyboard of these films and a letter from Tarkovsky to the Secretary General of the CPSU Central Committee L. I. Brezhnev about the possibility of showing "Andrei Rublev" in the Soviet Union.
In February 2013, the materials were transferred to the Museum Center of Andrei Tarkovsky in Yuryevets, after which his sister Marina Tarkovsky took up the systematization of the archive. The presentation of the archive took place in June 2013 at the 7th Andrei Tarkovsky International Film Festival "Mirror" at the Art Museum in Ivanovo.
In 1987, the Tarkovsky International Institute was founded in Paris. The founders were Mstislav Rostropovich, Robert Bresson, Larisa Tarkovskaya and Maximilian Shell.
In 1988, the Union of Cinematographers of the USSR recommended creating the Museum of Andrei Tarkovsky in building 26, p. 1 in 1st Shchipkovsky Lane. In 2004, a roof collapsed in a dilapidated house. At the initiative of the Film Fund, which was part of the IC of Russia, the house was dismantled. Then his tracks were lost. In 2008, in response to letters from filmmakers, the Moscow government adopted Decree No. 586, which referred to the decision to create the State Cultural Institution of the City of Moscow, the Tarkovsky House Cultural Center. In 2014, the Moscow Department of Culture included the future Tarkovsky House, the construction of which never began, in the Moscow Cinema chain of cinemas as a branch. The construction of the house was supposed to be completed in 2017. However, construction work has not begun.
In 1988, the name of Andrei Tarkovsky was named the small planet No. 3345, discovered by the astronomer of the Crimean Astrophysical Observatory Lyudmila Karachkina.
In 1988, in Lviv, the All-Union Round Table "View" on the problems of philosophical cinema, dedicated to the work of Tarkovsky. The round table was attended by over 300 delegates - critics, film critics, philosophers, cultural experts, members of his film crew, and representatives of film clubs. These were the first in the USSR and abroad readings on the work of Tarkovsky. At the same time, the Scientific Society of Andrei Tarkovsky was established, which existed until September 1991.
In 1989, the Andrei Tarkovsky Foundation was established, which existed until 2002 and held festivals and exhibitions dedicated to the work of the director.
In 1993, at the Moscow International Film Festival, a prize named after Andrei Tarkovsky was established for "the best film of a competitive or non-competitive program."
In 1996, the Museum Center of Andrei Tarkovsky was opened in the city of Yuryevets, Ivanovo Region.
In 2000, in Moscow, a memorial plaque was opened at the house at 4 Piryeva Street, Building 2, where Andrei Tarkovsky lived for the last nine years before emigration. The author of the memorial plaque is sculptor Anatoly Vasiliev.
In 2002, a bust of Andrei Tarkovsky was opened in Moscow in Bolshoy Afanasyevsky Lane. The monument was erected in front of the building of the State Museum "House of Burganov" on the day of the 70th anniversary of the director. The bust is made of bronze and mounted on a one and a half meter pedestal of black stone. There is an inscription on it: “Andrey Tarkovsky”. The author of the monument is sculptor Alexander Burganov.
In 2004, a historical and cultural museum was opened in the village of Zavrazhye, dedicated to the work of Andrei Tarkovsky.
In 2006, a memorial plaque was opened in Paris on the house where Andrei Tarkovsky spent the last months of his life.
In 2006, in Florence, the opening ceremony of the memorial plaque on the house along Via San Niccolo, where Tarkovsky lived and worked from 1983 to 1986, took place. The decision to establish a commemorative sign was made by the city council on the occasion of the 20th anniversary of the death of the director.
In 2007, in honor of the director’s 75th birthday, the Andrei Tarkovsky International Film Festival Zerkalo was established in the Ivanovo Region.
In 2009, at the entrance to VGIK, a sculptural composition was opened dedicated to three famous graduates - Tarkovsky, Shukshin and Shpalikov. Three bronze figures are located on the steps to the main building of the institute: Shukshin is sitting, and Tarkovsky and Shpalikov are standing nearby. The author of the monument is sculptor Alexey Blagovestnov.
Since 2012, “Meetings with Tarkovsky” have been held annually in Tallinn.
Since 2013, in the village of Myasnaya, Putyatinsky district, Ryazan region, Tarkov readings on the theory and practice of cinema have been held annually, organized as part of the open cultural and educational project “Towards Tarkovsky”.
In 2017, a monument to Tarkovsky was opened in Suzdal, the sculptor is Maria Tikhonova.
"Director: Andrei Tarkovsky." Documentary (1988)
Andrey Tarkovsky - master class in Italy (1984)
Andrey Tarkovsky. Interview with television of the Latvian SSR.
Andrey Tarkovsky - biography
Andrei Tarkovsky became not only the legend of Russian cinema, but also the most influential European director. He became famous for his paintings “Mirror”, “Sacrifice”, “Solaris”. His films were watched by spectators in Europe and America, they entered the classics of world cinema. Cinema for Tarkovsky was not a craft or entertainment, and not even a source of income. That was the meaning of his life, love forever. He respected art, worshiped him, so his work is so unlike the work of other directors.
Having returned a year later to the capital, Andrei went to enter the VGIK, to the directing department. He got on the course to the famous Mikhail Romm, who loved all his students without exception, tried not to miss the spark of talent in each of them, compromised at any moment, even if he completely disagreed with his student. He had such an attitude towards Tarkovsky.
Andrei could be considered lucky. The first success of the young man was the fact of studying with the illustrious master of directing, and the second good moment was that by that time one year had passed since the death of the leader of all peoples. The regime began to gradually give up its positions, the Union had already begun to slowly destroy the iron curtain in which it had been for many years. It was already possible to see Western films and gain invaluable experience in communicating with foreign filmmakers. The country began to shoot more films, which differed slightly from the paintings of the Stalinist regime, and Tarkovsky fit perfectly into these new trends.
Andrei Tarkovsky on the set
Tarkovsky’s directorial biography began in 1956 when he released his first short film based on the work of Hemingway. Then it was not only Romm who realized that they were facing a real nugget, and he had excellent prospects in the cinema. In the same year, fate brought Tarkovsky with Andrei Konchalovsky, who had just entered the VGIK. Subsequently, they worked together on scripts, and shared invaluable experience.
It was in his student years that the style of the director Tarkovsky was formed - he never answered the questions raised in the film, providing the viewer himself with the opportunity to think, analyze and make conclusions. He considered sound and light to be an important aspect of cinema, because viewers should feel the reality of what is happening.
Shot from Tarkovsky's film “Andrei Rublev”
Andrey Tarkovsky received the honorary diploma of VGIK in 1960, and plunged into work with his head. He wanted to shoot the film "Andrei Rublev", applied for permission to the USSR Art Council, but he was refused because of a lack of experience.
The director put this script aside for later, and set about putting into practice the Ivanovo Childhood film, which glorified him. Tarkovsky had a very difficult task - to take a picture with a meager budget and in a short period of time. And yesterday's student coped with it perfectly. His painting was awarded two dozen prizes, including the Golden Lion of the Venice Film Festival.
After such a triumph, Tarkovsky easily received permission to shoot Andrei Rublev. The operator of the picture was Vadim Yusov, the musical accompaniment of the tape was provided by the composer Vyacheslav Ovchinnikov. In the same composition, they worked on all subsequent paintings by Tarkovsky, until his death.
The co-authorship of the script belongs to Andrei Konchalovsky. The picture of a monk who skillfully painted icons became a cult in the USSR. And again, numerous awards at domestic and foreign film festivals.
The filmography of Andrei Tarkovsky slightly exceeded a dozen paintings, some of them documentary. But even such an insignificant number of works could have a great influence on the formation of the creativity of many Soviet and foreign directors.
In March 1982, Tarkovsky left for Italy to begin filming the film "Nostalgia", which a year later won a prize for directing in Cannes. In 1983, the director began to bother about getting permission for his wife, son and mother-in-law to go to Italy for 3 years. They refused him. In July 1984, in Milan, he announced that he remained in the West, that is, fell into the ranks of defectors. Immediately in the USSR his films were banned from showing, and even the name of the great director was banned, but they still did not dare to deprive him of his citizenship.
The grave of Andrei Tarkovsky
In 1985, Tarkovsky shot his picture “Sacrifice” in Sweden, which became his last masterpiece. In December 1985, doctors discovered oncology in him - lung cancer. Only after that, all bans were lifted from his name in the USSR, and his son Andrei received permission to leave.
Andrei Tarkovsky died a year later - on December 29, 1986. He died in France, in Paris, and is buried on Sainte-Genevieve-des-Bois, where all the Russians rest. In 1994, a monument was erected on the grave according to the sketch of his wife, Larisa Tarkovskaya, with the inscription: "To the man who saw the angel."
- 1956 Assassins
- 1960 ice rink and violin
- 1962 Ivan's childhood
- 1966 Andrei Rublev
- 1968 One chance in a thousand
- 1972 Solaris
- 1973 Tart grape
- 1974 Mirror
- 1979 Stalker
- 1979 Watch out! Snakes!
- 1983 nostalgia
- 1986 Sacrifice
Andrei Tarkovsky, biography, news, photos
Name: Andrey Tarkovsky (Andrei Tarkovskii)
Birthday: April 4, 1932
Place of Birth: from. Zavrazhye, Ivanovo region
Date of death: December 29 1986 (54 years old)
Cause of death: find out lung cancer
Place of burial: find out France, Saint-Genevieve-des-Bois, cemetery of Saint-Genevieve-des-Bois
Eastern horoscope: A monkey
Interview with the sister of the great filmmaker on his 80th birthday.
On April 4, director Andrei Tarkovsky would have turned 80 years old. He passed away early, leaving a scar in the heart of family and friends. Especially in the heart of my sister - Marina.
She is a tired sweet woman. Behind is a difficult life. War, hunger, divorce of parents, creative throwing of his brother, his departure from the country and death in a foreign land ... “The worst thing is that nothing can be changed already,” says Marina Arsenievna bitterly. “It remains to sort through the pieces of paper and scroll back and forth again and again.” Marina Arsenievna Tarkovskaya carefully preserves the family archive and restores the pages of the life of his father and brother piece by piece. She wrote a book - "Shards of the Mirror." I wrote primarily for myself, in order to understand, figure out how and when the first cracks were outlined on this happy family mirror.
- Marina Arsenievna, in your noble-raznochinsky family there are revolutionaries, writers, lawyers. Do you think you and your brother inherited some traits from your ancestors?
- Our paternal grandfather was a volunteer. With blood, thank God, he was not tarnished, did not directly participate in terrorist acts, distributed leaflets, conducted propaganda among workers. And his eldest son, Valya, when the revolution happened, ran away from home, and his relatives did not see him again. Today I already understand that in Andrei’s desire to break out of everyday life, to accomplish the unusual, in the pursuit of something forbidden there was a lot of hereditary. But Andrei grew up in a harsh, terrible time, where any protest was punished cruelly. His brother was a reasonable man, so all he allowed himself in his youth was his passion for American jazz and trophy films.
- But what about the famous styling? It is said that Andrei Tarkovsky, dressed in tight trousers and a snow-white scarf, loved to flander along Tverskaya.
“He had no white scarf.” There was a modest paper white sweater. Bright coats appeared later. Of course, Andrei challenged the gray Komsomol community with his styling. And at the same time, there was a lot of acting in this desire to stand out. I remember how he bought a yellow jacket at a thrift store, and I sewed a tie for him. My stepmother gave me the American trophy dress, it was already well-worn, and I cut myself a sweater and a tie for him.
I did not share my brother’s hobbies with styling, I grew up closed, very quiet. Mom had no problems with me. But Andrei “paid” for his walks along Tverskaya. Mom, alarmed by his behavior, sent him to "re-educate" on a geological expedition to the Yenisei - "in search of gold." There, Andrei quickly changed into a quilted jacket and stopped portraying a spoiled metropolitan child. According to eyewitnesses, there he showed himself to be a brave, hardy, devoted man in friendship.
“Is it true that your brother only got his hair cut at the Metropol?”
- It was just that there was a good hairdresser. But Andrew really attached great importance to appearance. As a child, he often looked into the mirror and asked me: “Am I beautiful?” Andrei was an aristocrat in spirit. And he always looked elegant, even with the poverty in which he lived.
- This is probably from his father — poet Arseny Tarkovsky?
“Yes, from dad.”Dad liked to dress beautifully, there were few opportunities, but he always looked very impressive. Andrei imitated his father in everything. Dad was generally a model for Andrei, a man, a person, and a creative person.
“All the sharper did he survive the breakup with his father?”
- Parents divorced when we were very young: I am 2.5 years old, Andrei is 4. Children at this age already understand a lot, feel. But my father and I constantly saw each other.
- How did mom manage to maintain a relationship with your father?
- Mom’s views were formed during the Silver Age. At that time, people from the literary, musical environment were deprived of philistine prejudices. They knew how to control themselves, knew how to be correct and did not run to the party committee with complaints.
Mom wanted the children to have a father. She understood that she herself was to some extent to blame for the fact that the family collapsed: she was not a flexible, diplomatic person. And mother did everything so that father could come to our house and not feel discomfort at the same time. Mom knew her father as a poet and was proud of him even after a divorce.
“Your mom never married.” Did she love your father so much or was it a mortal disappointment in men?
- Of course, it was love. And secondly, after a divorce, my mother began a hard life, where there was no place for anything but work, home, everyday life and rare trips to the conservatory. On her way, there was never a man who could manage to conquer her. Dad left in the 37th, mom was then thirty years old, four years later the war began. There was no time for novels at all. And after the war, half of the men were knocked out altogether. In general, it did not work out.
- The film "Mirror", which Andrei Tarkovsky will shoot many years later, looks in the end as a kind of rebuke to her mother, who could not keep her father. This is true?
- No, everything is much more complicated here. There is a lot of autobiographical in Mirror, but this is not the story of our family. The film is about some kind of quarrel with his mother. No quarrels have ever happened in our family! Just at the time of the creation of the picture, Andrey left his first family, a six-year-old son. He understood that he was doing something unlawful. Because he himself survived this drama - his father’s departure from the family. And he tried to figure it out - first of all in himself. He was embarrassed in front of mom, dad. For a long time we did not know where and with whom he lives, and for five whole years he did not officially marry his new darling, because he understood that he was doing something wrong. It was a very difficult time for him and for us. And "Mirror"- this is a film about how he feels bad. He says in the final of the film: for some reason I feel guilty, but I just wanted to be happy ... The picture is an attempt to make excuses.
- Was it easy for mom to persuade to star in this film?
- She was not persuaded. Brother simply asked her to withdraw. And she could not refuse him - this is Andrey, her beloved son.
- It was something for her to listen to the sentence pronounced by the heroine Demidova from the screen: “You are a typical Marya Timofeevna Lebyadkina, a character of Dostoevsky. All your life - bring yes give ... You don’t know how to move a finger. "Your hubby escaped you on time, but you will definitely make children unhappy!”
- Of course, my mother was offended. And in vain. In the image of the heroine of the Mirror there are some traits of our mother, but, in general, this is another woman created by Andrei and the actress Terekhova. Therefore, it is ridiculous to compare her with the heroine of Dostoevsky, who ordered, ordered. Mom was not a lady. She worked as a proofreader in a printing house, loading herself with the most difficult job - foreign reports, because her partner was difficult to read Latin letters. She lost money and health on this, but it was an absolutely natural act for her. She was generally an extraordinary person.
- They say that when the favorite actor of Tarkovsky Anatoly Solonitsyn fell ill with cancer, he only visited him two times. And during the illness of his mother, he did not show much activity.
“Did you feel the older brother’s shoulder as a child?”
“Until a certain time, until he got married.” In school years, he often fought, protecting me, and I dragged him love notes from his girlfriends, because we studied in separate schools - male and female. Many fell in love with Andrei. In the tenth grade, the brother decided to marry. The pope then wrote him a very gentle and wise letter in which he warned: "Do not be like a leaf in the wind, do not rush into love, like into a deep well." And Andrew heeded the advice!
- Did Andrei Tarkovsky inherit this extreme love of love from his father?
- Dad was not a womanizer. Just like any creatively gifted person, he knew how to appreciate beauty. In his youth, dad was in love with Maria Falz. The feeling for her carried through her whole life. Maybe because she died early, and they did not live together - life in fact destroys relations, especially such a terrible, Soviet life. Then my father fell in love with my mother, but they got married early. And such marriages are fragile. Then in the life of her father appeared Antonina Alexandrovna - a wonderful woman. Dad defeated her with his passion. It was not easy for her to destroy her family and go to the poet. She was a sweet, kind, deeply decent man. But she also suffered the fate of my mother. By the way, in recent years they became friends. And dad went to Tatyana Ozerskaya. I know that my father suffered from the fact that he hurts others, but he could not do anything with himself.
- As a child, you were starving, your brother was ill with tuberculosis, and your father bought a fur coat for his wife in one of the most difficult years.
- It’s funny for me to act as a lawyer for Arseny Tarkovsky. And I don’t want to do that. For myself, I explain to my father “forgetfulness” by the features of his upbringing. Dad was a late child. After his elder brother died in the Civil War, he became the only one. He grew caressed. Parents realized that he was a gifted boy, and spoiled him in every way. And such a character appeared. Maybe selfish.
You know, today I think this way: if he were a wonderful father, or if Andrei called his mother every day and inquired about her health, then probably they would not have created what they created. Both Andrei and Arseny Tarkovsky were special people. They should not be condemned, but protected.
- And yet, both father and son Tarkovsky were fatal men. Because of the love for your brother, actress Natalya Bondarchuk cut her veins. And for the poetess Marina Tsvetaeva, the feeling for your father was the last in her life.
- It’s not so, it’s not about rock. As for Andrei, the director’s status undoubtedly raised him above the ordinary. He had a romantic, extraordinary profession, and each actress probably saw herself as Galatea, and Andrei as Pygmalion.
As for the relationship between Arseny Tarkovsky and Tsvetaeva ... Marina Ivanovna throughout her life needed the presence of a friend next to her, a person who would understand her. This gave her some kind of support, nourished her as a poet, enlivened her feelings. Sometimes she sought to completely capture a person in her captivity. And so for a while my dad became such a person. I can’t stop marveling at this amazing woman: in prison, her husband, daughter, son in her arms, homelessness, unemployment, she is a “White Guard”, “emigrant”, everyone shies away from her, and she is looking for communication with the young poet Tarkovsky!
Dad was fascinated by Tsvetaeva primarily as a poet; she was a master for him. He could not answer her warm friendship. Because he was a family man. Once, when Tsvetaeva and Tarkovsky and his wife were at a book fair, he did not go to Marina Ivanovna. This offended her. And so this relationship ended.
- In your opinion, to what extent is the bitter page of your family biography - the departure of Andrei Tarkovsky from the country - connected with a woman?
- This is a difficult question.
After all, the cinematic environment did not particularly support Andrei. I remember when the premiere of "Mirrors" was, Andrei stood at the door of the cinema - so lonely and confused, and colleagues passed by him. Few came up and thanked for the picture. You see, Andrei already had worldwide recognition, he communicated on equal terms with Fellini, Tonino Guerra, Antonioni, and at home he was still not noticed. It offended.
And yet, Andrei was not going to leave the country, moreover, he said: I will not deliver this pleasure to them (here he pointed the finger up)! And then he still remained in the West. He's probably just tired.
- Do you love all your brother’s films equally?
— «Sacrifice"And"NostalgiaI love less. It seems to me that in these paintings Andrei brought his state of anxiety, the cold in which he then found himself. His position abroad was rather unstable. Although he was given an apartment in Florence, there was a concern for the future, for the opportunity to work.
— Did your brother consider himself a great director?
“He knew his worth.” He knew that he had great internal potential. He had something to tell people. He had a lot of plans. He was going to shoot the film "St. Anthony", planned to stage the "Idiot" and himself play the role of his beloved hero - Prince Myshkin. Recognizing his own significance, Andrei, of course, suffered from a misunderstanding of his colleagues ... He was also impressed by the fact that at the Cannes Film Festival Sergey Bondarchuk allegedly voted against giving the painting “Nostalgia” to the Grand Prix. Andrei believed in this rumor, and this was the last straw: he decided not to return to his homeland and made an official statement that he was staying abroad.
- I can imagine how you, the relatives of the disgraced director, treated you in these years.
- You know, it was bearable. This inflated ball of the System was already breathing out. It was before perestroika itself. Of course, I was afraid: I thought, oh, they would fire me from work ... But it passed. True, Andrei’s son was forced to move from the space medicine department to the medical department - he understood that he would not be allowed to work with “closed projects”. Nobody touched his father either. The most disgusting was human gloating. “Ah, your son has remained,” they said to papa, a sick person already.
- The death of your father and brother turned out to be similar in many respects: both of them did not live their last days outside their native walls - father in the house of veterans, son in Paris, in a foreign land. Was there any kind of life logic in it?
- Unfortunately, such a finale was logical. Dad spent the last years of his life in the house of veterans. His wife Tatyana Alekseevna, a creative person, worked hard. Life absolutely did not interest her. And dad very often lived with her in the houses of creativity, it suited her - full board. For dad, staying in these houses was painful. After Andrei’s death, dad was offered to permanently move to the veteran’s house. Dad was categorically against it, I was ready to settle him at home. But there were friends who considered it possible to intervene in family affairs, and my opinion was not taken into account. So dad died. Awful. But I will say cruel words: each of us had to resist in due time.
- I was struck by the procedure for the funeral of Andrei Tarkovsky described in your book. Really nobody on this day sat down with a bottle of vodka and remembered Andrei Arsenyevich in Russian?
- There was just a lot of vodka - at the wake. I did not go there, to the apartment in which Andrei lived, I was lying in a hotel room, I was physically ill. In addition to the grief that struck, the funeral procedure made a strong impression. Everything happened somehow coldly, in a European way. After all the plague epidemics in Paris, there is a tradition not to leave the coffin open, and I never saw Andrei. Then this procedure of scooping up the earth with a spoon ... And to top it off, the funeral director said that the grave-diggers had run out of time and that they would fill the grave tomorrow. Everybody left. Several people remained, and we buried this grave ourselves, decorating with wreaths and flowers. I could not get away from the open grave. This would be monstrous in relation to Andrei.
- ... And it would be a very terrible symbol of the life and death of the great director. Speaking of symbols. Marina Arsenievna, through all the work of Andrei Tarkovsky passes a metaphor - a mirror. What was your brother trying to discern in him?
- It seems to me that he was trying to understand what he is, what the man in this world is for. After all, we are not just appearing in the world - we are conceived by someone. And the Creator has some kind of mission. Not everyone can solve it. Both Andrei and Arseny Tarkovsky managed to unravel their divine calling. That was their happiness. And their tragedy.
Interviewed by Ilona Egiazarova
Height, weight, age. The years of life of Andrei Tarkovsky
Height, weight, age. The years of life of Andrei Tarkovsky - April 4, 1932 - December 29, 1986. At the time of his death, Tarkovsky was only fifty-four years old. Director height 1.71 centimeter, weight 65 kilograms. It is difficult to find whoever heard of Andrew, because his film works have been translated into many languages. The future master was born in the tiny village of Zavrazhye, Ivanovo Region.
The boy's dad was a famous poet, while his mother worked in the walls of the most ordinary printing houses. Father left them when the boy hardly managed to celebrate his three-year anniversary. Since then, he and his mother lived in need, there was not enough finance. Later in his interviews, Andrei will talk about this period with undisguised frustration, because he had a hard time in every sense of the word. But, he once and for all realized that he owed everything to his mother.
Andrei Tarkovsky biography and personal life
The biography and personal life of Andrei Tarkovsky - was designated by the date of April 4, 1932, the day when the future great figure of the film industry came to the world. At school, the boy loved to play the piano, and becoming a little older attended drawing classes. After twelve months in Taiga, the young man decides to connect his life path with directing. In 1954, Andrei entered VGIK. He made his debut with the tape "Ivan childhood" in 1962.
Filmography: films starring Andrei Tarkovsky
It was a staggering success, which allowed him already in 1964, working together with Konchalovsky on the film “Passion for Andrei”, which was released in a wide release under the name “Andrei Rublev”. After the release of the tape, a swift, stellar journey began, of him as a screenwriter. The filmography was remembered by the audience for a long time, among his masterpieces of films are the following: “Stalker”, “Solaris”, “Mirror”.
Sons of Andrei Tarkovsky Arseny, Andrei, Alexander
Sons of Andrei Tarkovsky Arseny, Andrei, Alexander are his favorite children. It is known for certain that from his first marriage with a woman named Irma Raush, he had a son, who was named in honor of his father Andrei - Arseny. The boy was born on September 30, 1962, at the moment he is fifty-four years old. Another scriptwriter son, Andrei, was born in 1970 on August 7, now he is exactly forty-seven years old.
The illegitimate son of Andrei, from the Norwegian dancer Berit, the third by name - Alexander was born after the director left - in 1986. As you can see, Andrei Tarkovsky left a wonderful legacy after his departure, and this is very important, because it would be so sad to realize that there are no people who would continue the path of the master. And besides, it was always believed that it was the boys who were the successors of any kind.
Wives of Andrei Tarkovsky - Irma Raush, Larisa Kizilova (Tarkovskaya)
Irma Raush is the first wife of Andrei, with whom he was married by marriage in 1957 and lived together until 1970. In their marriage, a son Arseny was born. Perhaps the couple would have been together and longer if Andrei’s romance with a young girl, Larisa Kizilova, had not contributed to their breakup. At that time, they were just working on the film work Andrei Rublev. Larisa Kizilova - became the second official wife of the director. Their marriage lasted from 1970 to 1986. All their life together, Larisa called her husband “you” exclusively, and when he passed away, she, unable to stand the separation, left after him. The second marriage bonds were destroyed in the same way as the first - the romance on the side, this time, the Norwegian Berit became the homeowner, from whom the third screenwriter’s son Alexander was born.The wives of Andrei Tarkovsky Irma Raush, Larisa Kizilova (Tarkovskaya) played a small role in his life.
Cause of death, grave and monument to Andrei Tarkovsky
The cause of death, the grave and the monument to Andrei Tarkovsky - before his death, he was just finishing the next film, which, unfortunately, was destined to become a swan song. The name of the tape is “Sacrifice,” as planned, the development of events took place in Sweden. The film took the Grand Prix at the Cannes Film Festival and other awards, which the director never found out about. Tarkovsky died of cancer, which was diagnosed in the 1985 recession. He underwent a long therapy in Paris, but it did not bring the expected results. The director died on December 29, 1986. He was buried in the Russian cemetery of Sainte-Genevieve-des-Bois in Paris. The following words were written on the monument: "To the man who saw the angel."