Anatoli Solonitsyn, Anatoliy Solonitsin, Irma Raush

An exploration of the struggle of the 15th-century Russian icon painter, Andrei Rublev, to reconcile his faith in God and the brutality of his country.

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14 critics

Unrated, 3 hrs. 5 min.

Directed by: Andrei Tarkovsky

Release Date: January 1, 1966

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DVD Release Date: February 2, 1999

Stats: 591 reviews

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Flixster Reviews (591)


  • December 30, 2008
    This Soviet-era Russian epic, which made Andrei Tarkovsky's international reputation, dramatises episodes in the life and times of a medieval monk with a gift for painting icons. Uniquely among artist biopics, there are no scenes of the hero at the easel and we don?t see his work...( read more) ? in radiant colour after three hours of black-and-white ? until the very end of the film. Indeed, Rublev (Anatoli Solonitsyn) tends to fade into the bearded, weatherbeaten crowd (for much of the running time he?s under a vow of silence) as various holy fools command attention. If Tarkovsky?s intense argument about God, talent and the human condition is as chilly as the steppes, the pre-CGI widescreen spectacle, depicting crowds of people and animals, is often breathtaking: the screen fills with Kurosawa-like action as Tartars sack a cathedral or a mad waif bosses a more experienced crew as they forge a church bell.
  • November 1, 2008
    Finally got my hands on a copy of this-can't say enough about it-up there with Bergman's "Seventh Seal",Kurosawa's "Rashomon"..really challenges what passes as filmmaking these days..and on a strictly cinematographic level,it's B&W at its grandest.If I had the means,I'd send all ...( read more)of you a copy.Sayonorah,God bless,& have a pleasant tomorrow!!
  • June 8, 2008
    a wonderfully shot film by andrei tarkovsky. certainly a film this deliberately paced and lengthy (3 and 1/2 hours) is not for everyone but certainly worth it. andrei's journey is about crises of faith, brutality, the transcendence of art, and the need of the artist to be a parti...( read more)cipator, not simply a spectator, of history.
  • April 16, 2008
    I can't say I understood it, but I found it enthralling.

    I'll be able to write a more in depth review after a few more viewings...maybe
  • April 3, 2008
    Simpy stunning technical achievement. It's less of a biography of the artist than a series of vital episodes in his life that portrays his spiritual malaise. The epic scope of the production is breathtaking and Tarkovsky's fluid long takes is up to the challenge of capturing ev...( read more)ery detail.

    I watched this in the theater and given the huge production values and scope of the film I cannot imagine seeing it any other way. This film was made to be seen in the cinema.
  • November 7, 2009
    Tarkovsky's art is pure poetry, and it carefully lingers for over three hours through the dominions of faith, brutality, and mainly the role of the artist in the world.
  • October 11, 2009
    "Rejoice, O young man, in thy youth and the thy heart cheer thee in the days of thy youth. Walk in the ways of thine heart, and in the sight of thine eyes but know that for all these God will bring thee into judgment. Remember now thy Creator in the days of thy youth before th...( read more)e difficult days come and the years draw nigh when thou shalt say "I have no pleasure in them." Remember thy creator before the silver cord be loosed, or the golden bowl be broken or the pitcher shattered at the fountain or the wheel broken at the well. Then shall the dust return to the earth as it was and the spirit shall return unto God who gave it. "Vanity of vanities," saith the preacher; "All is vanity.""



    ANDREY RUBLYOV (1966)




    Director: Andrei Tarkovsky

    Country: Soviet Union

    Genre: Biography / Drama / War

    Length: 205 minutes



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    Thanks to the power and humanism of a gripping anti-war manifesto called Ivanovo Detstvo (1962) directed by Andrei Tarkovsky, his next epic project Andrey Rublyov had a considerable amount of high expectations from the Russian audience. Naturally, something that continues happening even nowadays, the film surpassed any possible human expectation, being the cinematic result a politically brutal and violent motion picture with a highly sexual tone. The most obvious consequence was the film being prohibited by the Russian government for approximately three years, complicating a wider worldwide distribution while being subject to several edited versions mostly removing every scene involving profanity, its greatly predominant Catholic influence and the noticeably violent torture and battle sequences. Decades had to pass so the actuality audience could witness the full masterpiece of Andrei Tarkovsky completely restored in its 205-minute length. Objectively speaking, most of the films that are considered too violent, too scandalous and utterly disrespectful in their respective eras worry both partially and totally totalitarian governments for the political ideas it presents, including their particular depiction relying on the filmmaking style and auteur vision. The most honest truth is that Andrey Rublyov belongs to a superior category within the art of filmmaking because of its pure sheer brilliance, its dominative skepticism and, ultimately, because of Andrey Tarkovsky, a cinema master.



    Andrey Rublyov unfolds its story in the 15th Century, one of the most tragic and catastrophic periods of Russian history where numerous battles against Tatar invasions predominated. The film focuses on the icon painter Andrei Rublev from the very beginnings of his artistic influence in town, traveling and hiding from the Tatars and being asked to paint a fresco of The Last Judgment in the Church of the Annunciation in Moscow while the scaffolding was still being built. Despite that the audience was prevented from seeing the film, which was screened during very early hours of the morning, the film won the FIPRESCI prize in 1969 at the Cannes Film Festival.



    Andrey Rublyov is the film that primarily showed the upcoming filming style of Andrei Tarkovsky for the first time. The political content and the strength Catholicism had already acquired were the principal motors that justified and beautifully unfolded the plot of the film which was abundant in substance and in philosophical depth. Both Andrei Tarkovsky and Andrei Konchalovsky developed one of the most complex, provocative and poetic screenplays that could ever give birth to an epic motion picture. The lack of music can be immediately compared with the lack of inspiration that Andrei Rublev transmitted through his paintings, a possible immediate consequence of such turbulent times, resulting in a struggle for maintaining faith in God. When music is employed, its quiet and mystic beauty and tranquility allow both the protagonists to physically take a break from the events they inevitably were meant to go through and allow the spectator to psychologically be hypnotized with the visual style and the gorgeousness of vast landscapes and the love of God.



    Evidently, Tarkovsky utilizes lengthy shots that let the time pass like life itself. The editing is effective enough to guarantee a visually pleasant watch, but the cinematography and the length of every single shot acquire an independent timing that allows the film to offer a skeptic perspective. This is the skepticism that Andrei Rublev has gained through his spiritual journey from a religious point of view, but not necessarily questioning the existence of God and a universal truth that governs the world. The frequent questionings arise from unperceived motives that should guide his actions through the right path. Tatar invasions are raping the peacefulness of the Soviet Union while he, ironically, is asked to paint the Last Judgment in the ruins of a church that has not yet been fully built... nor has he. No matter how inexperienced the performances may seem, it even suddenly transmits a rather odd neorealist feeling, and the most believable reactions one is expecting from the characters clearly should lack exaggerated displays of strong emotions and spiritual perdition.



    Andrey Rublyov possesses one of the most interesting and haunting scenes ever filmed. An intentionally historically-inaccurate sequence depicting the crucifixion of Jesus Christ is presented while the main character considers the possibility of His death as being divine plan that was meant to reconcile man. His ideas and interpretation of the meaning and influence of Jesus Christ in the existence of the human race are already torn up; therefore, the inaccuracy of the aforementioned scene is justified, since it is a peculiar characteristic that can be immediately contrasted with how life tribulations tend to weaken the faith we should eternally keep towards God. Andrei Rublev is an individual representation of a personal tragedy and of an almost unstoppable loss of religion because of man's constant and never-ending territorial and political wars. This tragedy is implicitly mirrored with the brutality the whole nation was going through. The consequences of irony are a factor that could not be omitted.



    Thanks to all of the characteristics mentioned above, a high display of graphic violence and orgiastic rituals were the elements that caused so much controversy back in the 60's. However, a politically correct film must not necessarily be a kind movie towards its audience. It must clearly show to what band the director decided to belong if neutrality is not part of his main ideals. Tarkovsky fulfilled such task and had enough guts to throw in a very powerful religious perspective that would help in every single artistic, cinematographic and plot aspect. The final outcome is one of the most audacious and provocative magnum opuses ever committed to celluloid.



    Andrey Rublyov is not only the director's best film, but one of the strongest candidates for the best film ever made, literally speaking. It is a direct message towards the Catholic worldwide population and an undeniable masterpiece towards atheistic and agnostic people. Captivating epiphanies, a riotous conclusion and one of the most visually beautiful and haunting sequences ever filmed in full color are just some of the elements that the movie presents. It is the trademark of a genius, a brave effort at creating a grandiose testament more epic in philosophical depth than in its mere running time and quite possibly the best foreign film ever directed. Words won't suffice for writing a proper review rather than expressing one's amazement, but it is a film almost as big as life itself and a dream come true for anyone who supports expressive art forms and the complexity of existence itself, subjectively speaking. Finally, it is a masterwork that has the divine ability to transform people and to make them see life differently. I do now.



    100/100
  • September 16, 2009
    http://andrey-rublev.ru/
  • August 22, 2009
    A rather haunting exploration of some specific inner relationships. Among them, those between: the people whom art possess, art itself and the world in all its glory (art's simultaneous recipient, murderer and catalyst).
  • August 20, 2009
    F*** your 185 minute version, I watched the 205. Do I regret that? Not exactly, but I mean come on, it's hard for me to pay attention to anything that long so, no, I didn't watch it one sitting, and yes, I fast forwarded a little bit, but I didn't miss any dialogue and could st...( read more)ill see all the mongolians burning down Russian stuff. That was the point, right? IT WASN'T?!!?!?

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