70/100 (Kattiyen 4,5 yıldızlık bir şey yok. Filmde olaylar gerçekten kopuk kopuk. Sonlardaki çan sahneleri gereksiz. Tatarları kötü göstermesi ve sırf film için atın merdivenlerden atılması inanılmaz kötü. Ancak filmin atmosferi çok başarılı. Gerçekçilik yerinde. Yağma kısmındaki 30 dakika inanılmaz iyi. Ama yetmiyor işte. Bu abartılı puanlar yüzünden 3 yıldız veriyorum.)
The last Tarkovsky that I hadn't seen (after watching Stalker at least 20X), and I won't watch it again. This is my least favorite of his films. Obviously the work of a great master, it was nonetheless very, very unpleasant for me to watch. I know that it is my personal prejudice to find scenes of gruesome, graphic violence incredibly unpleasant (seen enough irl), so I'm only subtracting 1 star for that reason.
When I first saw ANREI RUBLEV as a teenager in the 90s I can confess to having been quite categorically transported by it. It seemed to have arrived from another realm and precipitated a spiritual experience born of a kind of profound defamiliarization. I experience it differently as a man nearly forty. It strikes me now as a sublime testament to creative industry and something nearer a documentary on its own making.
Tarkovsky, as always, takes his viewers to cinematic chapel and creates a religious experience not easily forgotten. Slow? Yes. Long? Yes. Transcendent? Yes, but don't take my word for it. Andrei Rublev is a meditation on the endurance of personal faith in the face of the evil and random world we all inhabit.
If it weren't for its length, this would be my favorite Tarkovsky film; however, it is still easily among the best films ever made. Its messages of spiritual and artistic doubt are as translatable to the theistic as they are to the secular. There are many hypnotic scenes, but I think my favorite might be when Andrei follows the pagans. How this film was made in the soviet era, and with so many extras, is mindblowing.
Glorious. Depicts the harsh era of 15th century Russia, presents the craft of Orthodox icon painting in a deep, intimate manner and manages to stay relevant until the very end. Impressive cinematography and sound design for 1966 and a screenplay written in a way so natural that it transcends the viewer into its setting, causing one to forget it’s a film. Probably the best execution I have seen so far, impeccable.