The seven-year-old fiddler (Igor Fomchenko) tries to sneak downstairs to his afternoon recital but is stopped first by neighborhood bullies, then by the sparkle of a mirrored window display, which gives him the world through spider eyes. A smiling girl sits by his side at the cavernous waiting room, he can’t get the tempo right for the teacher (“too much imagination”), the apple he had left outside when he went in has been eaten. His new friend is the steamroller driver (Vladimir Zamansky), prole earthiness to the boy’s refined artistry — their camaraderie mutually enlarges their worldviews, though the women in their lives (the boy’s mom, the worker’s girlfriend) ultimately dissolve the bond. The titular objects become poetic talismans in Andrei Tarkovsky’s hypersensitive thesis short, paving roads and playing sonatas are equally deserving of wistful glances, exalted angles and Powell-style color. –Fernando F. Croce
One of the most important artists of the second half of the twentieth century, Tarkovsky was one of the few unqualified masters in the history of film. While he certainly wasn’t the only great director of his generation of Soviet filmmakers, he was, like Eisenstein was to an earlier generation, its most renowned and most influential.
The son of artists- actress Maria Ivanovna and poet Arseni Tarkovski— he studied both Arabic and geology before turning to film. He enrolled at VGIK in 1959, directed the acclaimed short The Steamroller and the Violin in 1960 and won the Golden Lion at the Venice International Film Festival for his first feature, Ivan’s Childhood, in 1962. By the time he completed his second feature, Andrei Rublev, he was regarded by many as “a poet of the cinema” – and by the Soviet censors as dangerously esoteric. Unreleased in the Soviet Union until 1971 (and then only in a truncated version), Andrei Rublev was seen first at international festivals and widely… read more
On the occasion of what would have been Andrei Tarkovsky’s 80th birthday, Adrian Curry looks back on the best posters for his films.
Le rouleau compresseur et le violon est le dernier film d’études de Andreï Tarkovski. C’est aussi à ma connaissance son dernier court-métrage. Tourné dans les studios MosFilms, c’est également l’oeuvre… read review