Andrei Rublev Review

People always say "You can do anything you set your mind to", but is that really accurate? Could I have pursued a multitude of professions when I was growing up and determining a path for my education? Certainly. Could I have worked harder, maintained a stronger focus on my goals and been at the top of my class? Sure. It is amazing what a person can achieve when they know what they have to do to get to where they want to be.

Yet I still don't truly believe the word "anything" belongs in that first quote. Some people can work night and day and become great, but it takes more than that to be a genius of a craft. I was pretty good at basketball growing up, but no matter how hard I practiced, no matter how many shots I took, I was never going to be Michael Jordan. I also had a pretty strong knack for golf. At one point I was even the Captain of my high school team, but no matter how many rounds I played, I was never going to be Tiger Woods.

I bring this up because some films take me to a place that resides far beyond words like admiration or fondness or even love. Sometimes I will watch a work and my first reaction is one of jealousy because I think to myself, "Why couldn't I be capable of making something like this?". I was born in April, the year 1984 and by the time I took my first breathe I honestly believe it had already been decided: I was never going to be Andrei Tarkovsky. Only a few men in the history of cinema even play in the same league. Some people are just born with a gift that is hard to comprehend.

There is a level of brilliance on display during every minute of the epic picture Andrei Rublev that is difficult to even put into words, and there are a lot of minutes to analyze along the way. Clocking in at well over 3 hours in length, deciding to sit down and devote not only your time but also the mental energy it takes to devour such a movie can be daunting. Trust me though, it is worth it. 

Despite the fact that obviously we are not watching real footage from 600 years ago, Tarkovsky manages to create some authenticity with a sometimes crude and dated look to the film, but this isn't a flaw, it is actually quite stunning. Typically when I see a period piece taking place during a similar time, I can't help but see it as a Hollywood picture attempting to capture a realism that is impossible to create. Tarkovsky somehow transports us back to an era long before a camera could even be there to film. Everything seems to be lit naturally, something that is especially noticeable during sequences taking place indoors, when a face is shrouded in shadows only to be illuminated by the flicker of light from a candle. No matter how dull and dour and grey and cold the image appears to be on screen, it is consistently beautiful to look at.

The screenplay, written by Tarkovsky and his co-writer Andrei Konchalovsky, took more than two years to put together and the time and effort is not lost on me as I witnessed this epic masterpiece unfold. Every word feels perfect and they are all delivered by an expansive and flawlessly assembled cast of unknown actors. As an audience, we may not literally see all of the work that goes into the entire craft of a film but often times we can feel it. Modern day studios try to churn out films and their sequels year after year, and you can sometimes sense that they were rushed. The focus was on box office receipts rather than art. Andrei Rublev is the antithesis of this mentality. You can practically soak in the amount of passion that went into every single frame.

I was once asked why I would root for Tiger Woods at a time when he was winning practically every tournament he played in. "I love to watch greatness at its absolute best.", I responded. 

That's exactly how I felt as I experienced Andrei Rublev. 

5/5

Jauja Review

As I continue to explore fascinating foreign language cinema, the types of work I used to unfortunately ignore, I have found myself constantly puzzled and being forced to sleep on a film before being able to form a coherent thought or two to start my write-up.

In other words, it has been an amazing and rewarding time for me and my understanding of the medium lately, and that continues with the gorgeous new film Jauja. The final frame left the screen and there I was, staring at a spot on the wall as I contemplated what I had just seen. A shit eating grin plastered on my face, I'm sure.

Jauja debuted last year at the Cannes Film Festival and has been seen at other fests and released in other countries since, but it is finally getting its limited release here in the United States just now. I recall catching wind of some very positive word of mouth months ago and being annoyed at just how long it would be before I could see it.

It was worth the wait.

Director of Photography Timo Salminen puts a very unique spin on this film with the way it is framed, using a 4:3 aspect ratio with rounded corners that brought a surreal feel to the entire experience, as if I was watching an old slideshow of moving photographs rather than a film. By utilizing this approach with the landscapes that make up the setting of the picture, the result is an overall haunting and spellbinding enigmatic movie that is difficult to wrap my head around.

A friend and fellow cinema enthusiastic mentioned a similarity to the Australian classic Picnic at Hanging Rock by Peter Weir, which I watched and reviewed for the first time recently, and I definitely could feel those vibes flowing through Jauja. At one point a mangy dog plays an important role as to literally what direction Gunnar (Viggo Mortensen) takes going forward and I couldn't help but notice that it looked like it had walked out of the "Zone" in the Tarkovsky masterpiece Stalker and headed straight for the desolate landscapes of Jauja. 

I have no idea what previous pictures played a role in influencing this fascinating new work from Lisandro Alonso but it's easy to tell that the lifeblood of incredible work from decades past is flowing through the veins of Jauja. Some may find the languid pacing to be more trouble than its worth, and at times during the first half of the film I will admit it felt as if very little was actually happening, but for me the methodical movements within a frame and the way shots would linger on seemingly nothing all added to the mysticism that I completely fell in love with.

It's early and literally dozens of pictures are still on their way to try and surpass it, but as of right now Jauja is my favorite film of 2015.

4.5/5

Ivan's Childhood Review

Ivan's Childhood is a film that portrays the horrifying nature of war better than most, yet very little actual combat is shown. Personally, I don't need a constant stream of bodies collapsing to the ground, missing limbs and barely breathing soldiers desperately trying to cover wounds to remind me of just how destructive mass violence and chaos can be on humanity. Andrei Tarkovsky centered this film around a 12 year old boy named Ivan, a child seemingly adopted by the military after he is orphaned as a result of war. We see these men handle him both as the child he is, with kid gloves so to speak, but also with the respect a fellow soldier would deserve as he serves as a spy for their side.

The life of a child, ravaged by war. We see the morose landscapes that he currently occupies, but we also experience both his memories and his dreams, beaches soaked in sunlight rather than the devastation of a region under attack. An adolescence destroyed for reasons far beyond his control, forcing a boy to become a man at an age far too young. 

Often times after someone sees a film, a common question they are asked is "Who was your favorite character?". In Ivan's Childhood, my favorite character might be Tarkovsky himself and the way he framed his subjects. Another possibility is director of photography Vadim Yusov and the absolutely brilliant way he used lighting as it poured in from one spot through an otherwise bleak location, like a ray of hope shining through the surrounding misery. Despite being filmed over 50 years ago, this is a gorgeous piece of cinema, one that seems to have aged like a fine wine. 

As I have previously experienced a few other Tarkovsky pictures, it was interesting to go back and start from the beginning, witness the way he introduced himself to the world as a filmmaker. 

What a remarkable introduction.

4.5/5