There was something about this movie that I really liked, but I can't pinpoint exactly what it was. About half the time I was really enjoying it and half the time I was disappointed because it felt really artsy, trying to be intelligent and deep, and (in my opinion) failing.
A film of depth and symbolism, and one I think I need to see again to fully appreciate. Tarkovsky likes to hold his camera on images and characters for long periods of time, drawing out event and meaning through a painting like canvas of actions and emotions, never looking away from tragedy and horror, as well as beauty and grace. The flaming house finale is spectacular in its visuals and vision.
Final, spiritual chapter. In Tarkosvky own words 'One way to recapture moral integrity is by having the capacity to offer oneself in sacrifice'. As Alexander is kneeling and the house goes down in fire, is for him to reconnect with oneself.
I can't compare this movie with his other stuff .it has an diffucult existentialism theme . And long takes are annoying audiences rather than giving rise to thought . İn my opinion this movie can't understand with watching only one time . this is a film can be understood in years...
Screaming-uncontrollably-on-English-all-of-a-sudden is one of the worst things I've ever seen. As for the film, it will keep Tarkovsky fans at bay with his well know symbols rearranged once again, but there is absolutely nothing intriguing about the entire picture.
Hugely disappointing. I'm not a huge fan of « art house interior drama à la Bergman ». The cinematography is alright, but the bourgeois theatrical side of the feature bother me. Great film, but i prefer the « elusive » Tarkovsky of Stalker or The Mirror. And not the one who tried too hard to emulate the style of Bergman. He should had learnt from L'argent (1983), not from Fanny and Alexander LOL.
As "Nostalghia", it's a film haunted by the memory of Russia and shadowed by a very heavy dramaturgy, essentially variations of Chekhov and Bergman (Tystnaden), as if the inner ruins that previously lived in-off his images-sounds were to become a thematic construction. However, its formal structure is so absorbent that many times can overcome my resistance and, as in the fire's long sequence-shot, let me perplexed.