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Home , Anatoly Solonitsyn, Andrei Tarkovsky, Friedrich Gorenstein, Irma Raush, Ivan Lapikov, Mikhail Kononov

Notes

Notes to the Introduction

1. Filmed interview with by Donatella Baglio, 1983. 2. See Tarkovsky' s early autobiographical submission to the State School for (VGIK) in . 3. Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) pp. 17f. 4. 'In the course of 22 years' work in the I have made five ; in other words, one film every four and a half years. If one calculates the time needed to make a film as, on average, one year plus a certain amount of time for the screenplay, I have been unemployed for 16 of the 22 years. Goskino sells my films successfully abroad, whilst I often do not know how I am to support my family. Since you have been in office, you have not once used your official authority to give me the go-ahead for a production. It was only possible to com• mence shooting the film The Mirror after I had written to the executive committee of the 24th Party Congress of the Communist Party of the Soviet Union, and the film Stalker after I had written a letter to the 26th Party Congress. I cannot continually pester our highest party bodies or wait every time for the next party congress, in order to be able to work in a manner befitting my qualifications' (German press brochure to The Sacrifice; translated by P.G.). 5. 'Help me! Enable me to escape from this unprecedented harrying. Permit me to stage and Pushkin's Boris Godunov here in the West, with the thought that I shall return in three years' time and make a film about the life and significance of Dostoevsky' (ibid.). 6. On 10 July 1984 a press conference was held in the Palazzo Zebbaloni, , at which Tarkovsky declared his intention of remaining in the West. According to a bulletin issued by the German Press Agency (DPA), the film maker had applied to the US embassy in Rome for political asylum in the USA. This was reported by the Roman Catho• lic lay organisation Movimento Popolare in Milan (see report in Siiddeutsche Zeitung, Munich, 10 July 1984). 7. Michal Leszczylowski, 'A Year with Andrei', Sight and Sound, Autumn 1987, p. 283. 8. Andrej Tarkovskij, Hoffmanniana, Szenario fiir einen nicht realisierten Film (Munich, 1987). 9. Leszczylowski, 'A Year with Andrei', p. 284. 10. AP /Reuter report, January 1987. 11. William Fisher, 'Gorbachev' s Cinema', Sight and Sound, Autumn 1987, p. 242. 12. Andrey Tarkovsky, : Reflections on the Cinema (Lon• don, 1986) chapter heading, pp. 36f. 13. Ibid., p. 40. 14. Ibid., p. 43.

138 Notes 139 15. The Blake Society, StJames's Church, Piccadilly, London. A video recording of this talk exists, an excerpt from which is also included in a filmed portrait of Tarkovsky's last years made by Ebbo Demant for the German Siidwestfunk broadcasting network in 1987. 16. Tarkovsky, Sculpting in Time, p. 62. 17. Ibid., p. 57. 18. Turovskaya, Tarkovsky, p. 82. 19. Tarkovsky's Sapechatlyonnoye Vremya appeared in Germany under the title Die versiegelte Zeit (1984) and in the UK under the title Sculpting in Time (1986). 20. In The Sacrifice, for example, a white horse led by Little Man originally appeared towards the end of Alexander's dream. The scene was omit• ted in the final version of the film. See Leszczylowski, 'A Year with Andrei', p. 283. 21. Tarkovsky, Sculpting in Time, pp. 66 and 72. 22. Ibid., p. 68. 23. Andrej Tarkowskij, Die versiegelte Zeit ( and Frankfurt, 1984) p. 120. The passage is not contained in the English translation. 24. Tarkovsky, Sculpting in Time, p. 200. 25. Ibid., p. 192. 26. Ibid., pp. 212f. 27. 'There is always water in my films. I like water, especially brooks. The sea is too vast. I don't fear it; it is just monotonous. In nature I like smaller things. Microcosm, not macrocosm; limited surfaces. I love the Japanese attitude to nature. They concentrate on a confined space reflecting the infinite. Water is a mysterious element due to its ... structure. And it is very cinegenic; it transmits movement, depth, changes. Nothing is more beautiful than water'. (Andrei Tarkovsky, from English press brochure to The Sacrifice, 1986). 28. Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij: Film als Poesie, Poesie als Film (Bonn, 1981) p. 97. 29. Tarkovsky, Sculpting in Time, p. 168. 30. T. Rothschild, 'Glaube, Demut, Hoffnung (Hoffnung?)', Medium (Frank• furt-am-Main), Jan.-Mar. 1987, pp. 59ff. 31. For example, in Stalker the movement of the glasses across the table might be a case of telekinesis, or caused simply by the vibration of a passing train. 32. Tarkowskij, Die versiegelte Zeit (3rd edn, 1988) p. 270. 33. Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, pp. 10lf. See also Charles E. Passage, The Russian Hoffmannists, Slavistic Printings and Reprintings, vol. 35 (The Hague, 1963). 34. 'Ein Feind der Symbolik', interview with Andrei Tarkovsky by Irena Brezna, Tip (Berlin), no. 3, 1984. 35. Cf. Yon Barna, Eisenstein (London, 1973) pp. 62f., and Tarkovsky, Sculpting in Time, p. 168. 36. Ibid., pp. 119 and 183. 37. The 'montage of attractions' theory was published in 1923 in Mayakovsky's LEF magazine. 140 Notes 38. The average length of the sequences in The Mirror is approximately 23 seconds; in Stalker it is 1 minute 6 seconds. 39. Leszczylowski, 'A Year with Andrei', p. 284. (Leszczylowski was edi• tor of The Sacrifice.) 40. Tarkovsky, Sculpting in Time, pp. 159 and 162. 41. Andrei Tarkovsky, English prPss brochure to The Sacrifice (Swedish Film Institute, Stockholm, 1986): 'To me, black and white is more expressive and realistic, because it does not distract the spectator but enables him to concentrate on the essence of the film. I think colour made the cinematographic art more false and less true.' See also Tarkovsky, Sculpting in Time, pp. 138f.

Notes to Chapter 1: The Steamroller and the Violin

1. Andrei (Mikhalkov-) Konchalovsky, today a well-known director in his own right, also collaborated with Tarkovsky on the screenplay of Andrei Rublyov. In The Steamroller and the Violin Tarkovsky established other long-term working relationships as well. The cameraman, , and the composer, , were to collabo• rate on all Tarkovsky's early films. 2. According to Tarkovsky there are only 35 spoken sentences in this film. See Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 28. 3. Ibid., p. 23. 4. Tarkovsky pointedly underlines the situation by making the object of their desires the cinema, where the prewar Russian film Chapayev is being shown. Made in 1934 by Georgi and Sergei Vasiliev, the film is one of the most successful works in the history of Soviet cinema. It is based on the novel of the same name by Dmitri Furmanov, published in 1923. The film, an example of Soviet Realism, describes the fate of the Red Army commander Chapayev in the years after the Revolu• tion. 5. Studio discussion minutes. See Turovskaya, Tarkovsky, p. 28. 6. Ibid., p. 17. 7. The Steamroller and the Violin was produced in the department for children's and youth films of the studios. 8. In quite a different respect, the film does provide a clue to the recep• tion of many of Tarkovsky's later works. Although the Soviet press received The Steamroller and the Violin favourably, it was criticised within the department for children's and youth films of Mosfilm for inadequacies in the characterisation of some of the roles. Tarkovsky changed to a new collective within the studios shortly afterwards. The incident reveals two aspects of his working style: his uncompromising stance towards outside influence on his ideas; and the problem of communication with his actors. 9. See notes from the English press brochure to The Sacrifice (1986); and Andrey Tarkovsky, Sculpting in Time (London, 1986) pp. 138f. Notes 141

10. A peripheral theme, perhaps, but one that significantly recurs in other films by Tarkovsky. It is briefly mentioned here in the conversation between Sergei and Sasha over lunch. 11 Here, for example, Tarkovsky's experiences at the local music school he attended for seven years; or the absence of any trace of Sasha's father in the film.

Notes to Chapter 2: Ivan's Childhood

1. Vladimir Bogomolov, Ivan, first published 1958. 2. Instructions issued by the director-general of Mosfilm on 10 Decem• ber 1960; see Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 29. Turovskaya gives a detailed account of the production of this film. 3. Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 33. 4. Ibid., p. 18. 5. Turovskaya, Tarkovsky, p. 31. 6. Tarkovsky, Sculpting in Time, p. 16. 7. Turovskaya, Tarkovsky, p. 32. 8. Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij: Film als Poesie- Poesie als Film (Bonn, 1981) p. 13. (The English translation omits this reference.) 9. Filmed interview with Andrei Tarkovsky by Donatella Baglivo, 1985. Unlike Ivan's father, Tarkovsky's father, Arseniy, did return from the war. After his home-coming, however, he lived in separation from his wife and children. 10. Tarkovsky, Sculpting in Time, p. 38. 11. Hans Stempel, in Filmkritik (Frankfurt-am-Main) Nov. 1963, pp. 529ff. 12. At the same time there is a certain irony to the situation, since the Durer quotations are also a reference to Tarkovsky's own preoccupa• tion with the Apocalypse and the humanism of the Renaissance. 13. Tarkovsky himself was not happy with certain of the locations and sets; and he attributes the failure of some of the scenes to capture the imagination of the observer to the lack of pregnancy of these settings for actors and audience alike. See Tarkovsky, Sculpting in Time, pp. 31f, and Stempel, in Filmkritik. 14. Stempel, in Filmkritik. 15. Tarkovsky, Sculpting in Time, p. 29. 16. Tarkovsky himself was not satisfied with this sequence of the film, describing how the poorer of two alternative versions was inserted at editing stage and how this mistake proved irreversible (see ibid., pp. 31f). 17. At an earlier date the ruined church, in which the have their headquarters, had evidently been occupied by German troops. The Russians whom they held prisoner in the cellar had scrawled the following words upon the wall: 'There are 8 of us, none of us older than 19. In an hour they will shoot us. Avenge us!' 142 Notes

18. The bell-casting episode in Andrei Rublyov is in itself an act of faith on the part of Boriska, the young boy who pretends to know the secret of the process and who, to his own surprise, succeeds in his undertaking. The role of Boriska was performed by Kolya Burlyaev, who also played the part of Ivan. 19. The bucket of water reoccurs like a leitmotif in the dreams. Cf. the scene at the well (dream 2), and the final dream, when Ivan quenches his thirst from this bucket. The image of the well returns in The Mirror. 20. More perhaps than any of his later films, Ivan's Childhood is indebted to Dovzhenko. Like Tarkovsky, he too had undergone a training in painting, a fact that is reflected in the rich visual quality of their films, in the lyrical images and the fusion of all kinds of elements into a single universal vision. 21. This or a similar withered tree has previously been mentioned in the context of the war. In a telephone conversation in '51' headquarters, Colonel Gryaznov refers to the fact that there are too many Germans in the vicinity of this tree to enable a particular operation to be carried out. Cf. the dead, broken trees in Caspar David Friedrich's paintings; e.g. Winter', 1807-8. 22. Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, p. 19 (the English version of the book omits this reference). 23. Tarkovsky, Sculpting in Time, p. 21. 24. Stempel, in Filmkritik, and Tarkovsky, Sculpting in Time, p. 30. 25. L'Unita, 9 October 1962. Cf. Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, pp. 143f.

Notes to Chapter 3: Andrei Rublyov

1. Colin McEvedy, The Penguin Atlas of Medieval History (Harrnondsworth, Middx, 1969) p. 66. 2. Ibid., p. 80. 3. Tarkovsky had originally hoped to be able to include the decisive victory of the Russians over the Tartars on the Field of Kulikovo in Andrei Rublyov. Financial considerations ruled this out, however. For a description of this aspect of the film see Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 47. 4. Ivan IV (the Terrible) (1533-84) was the first ruler to adopt the title of Czar in 1547. 5. Ivan III married Sofia Palaeologa, niece of Constantine XI, the last Byzantine Emperor. 6. Andronik Spasa Nerukotvornogo Monastery, founded c.1360 by Met• ropolitan Aleksei in Moscow on the bank of the Iauza River. 'An outpost on the south-east approaches to Moscow, the monastery pro• tected the city from the Mongolian Tartars.' It was named after its first abbot, Andronik. From the end of the fourteenth century the monas• tery was responsible for the copying of books. In the Spasski Cathe• dral, built between 1420 and 1427 are the remains of frescos painted under the supervision of Daniil Chorniy and Andrei Rublyov. Rublyov Notes 143 spent the last years of his life in this monastery and was buried there. In 1947 it was opened as a museum of old Russian art and named after Andrei Rublyov (Great Soviet Encyclopaedia, vol. 11, p. 95). 7. It was not usual for Russian masters to sign their works at this time. Attributions to Rublyov can therefore only be made on the basis of documentary or stylistic evidence. He probably executed works in Vladimir, Moscow and Zvenigorod. Many of these now hang in Mos• cow. Rublyov possibly visited Constantinople and even Venice in the course of his life, although this in not recorded. 8. Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 34. 9. Ibid., p. 78. 10. The concept of the synchronism of time. See alsop. 50 and F. Allardt• Nostitz, 'Spuren der Deutschen Romantik in den Filmen Andrej Tarkowskijs', in Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij: Film als Poesie, Poesie als Film (Bonn, 1981) p. 109. 11. Ibid., p. 40. 12. In the epilogue, details of the following works by or attributed to Rublyov can be seen: 'The Redeemer Lives', 'The Nativity', 'The Raising of Lazarus' 'The Entry into Jerusalem', 'The Apostle', 'The Death of Mary' and 'The Old Testament Trinity' (see ibid., p. 110). 13. 'Though I speak with the tongues of men and of angels and have not charity ... ', words from 1 Corinthians 13: 1, spoken during this scene. 14. Painted for the Troiza (Holy Trinity) Monastery of St Sergius in 1425, two years after the events of the final chapter of the film, the work now hangs in the State Tretyakov Gallery, Moscow. 15. Whitsun, the Church festival associated with the Trinity and the de• scent of the Holy Spirit in the form of a dove, is of Old Testament origin. The celebrated it to mark the handing down of the laws to Moses on Mount Sinai and the Covenant with God. In the Orthodox calendar this festival occurs seven weeks after Easter (in the Jewish calendar on the 50th day after the feast of the Passover). On the day of the lawgiving on Sinai, on the 50th day after the Resurrection of Christ, the promise of redemption was fulfilled, in that the Holy Ghost descended on the disciples. The idea of the Trinity in the Old Testament is to be found in Genesis 18, where three angels in the guise of men appear to Abraham in the plains of Mamre. The plains (or grove) of Mamre were vener• ated as a place of holy manifestations by both heathens and Jews. Heathen sacrifices are also known to have taken place there. 16. For a fuller discussion of the nature and role of icons, see Leonid Ouspensky and Vladimir Lossky, Der Sinn der Ikonen (Bern and Olten, 1952). 17. Tarkovsky, Sculpting in Time, illus., p. 78. 18. The Uspenski Cathedral in Vladimir, where Rublyov worked in 1408. 19. Tarkovsky, Sculpting in Time, pp. 37 and 224. 20. See Auf der Suche nach der verlorenen Zeit; Andrej Tarkowskijs Exil und Tad, film by Ebbo Demant, Siidwestfunk, 1987. See also Tarkovsky, Sculpting in Time, p. 227. 21. Ibid., p. 168. 144 Notes 22. By a stroke of fate Kolya Burlyaev, the young actor who had por• trayed Ivan, was also called upon to play the role of Boriska in Andrei Rublyov. For a description of the events leading up to this choice, see Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 45. 23. Tarkovsky, Sculpting in Time, p. 78. 24. The Bruegel-like panoramas in the snow recur later in and The Mirror, for example. 25. The story of Jonah and the whale as a prefiguration of the Entomb• ment and Resurrection of Christ, for example. 26. 'Vanity of vanities, saith the Preacher, vanity of vanities; all is vanity. What profit hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh, but the earth abideth for ever' (Ecclesiastes 1: 2-4). Tarkovsky's preoc• cupation with this and other passages from Ecclesiastes is described in the article 'A Year with Andrei' by Michal Leszczylowski, covering the last year of the director's life (Sight and Sound, Autumn 1987, pp. 282ff.). 27. The figure of Christ actually eats the snow. 28. The veronica? 29. Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, p. 111; in his stage direction of Hamlet in Moscow in 1977, Tarkovsky did not differenti• ate the ghost of Hamlet's father from the living characters. 30. Cf. the scene in The Steamroller and the Violin when Sergei reproves Sasha for throwing the loaf of bread to the ground. 31. Vyacheslav Ovchinnikov also wrote the music to Ivan's Childhood. 32. The silence motif is also echoed in The Sacrifice by Victor's reference to Gandhi's abstinence from speech one day a week and, of course, by Alexander's own vow of silence. 33. The circumstances of Rublyov's vow of silence have been handed down in history (see Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, p. 45). 34. A metaphor for the Crucifixion and Resurrection of Christ, perhaps, the depiction of which follows the moral discussion between Theophanes and Rublyov. 35. Tarkovsky, Sculpting in Time, p. 204. 36. Kyrill's accusation is perhaps not entirely without foundation. The monasteries were among the greatest landowners in at that time, a circumstance that may be contrasted with a powerful strain of asceticism and 'apostolic poverty' among the monks. See V. H. H. Green, Renaissance and Reformation (London, 1965) p. 373. 37. The bird held in the hand is a symbol of the divine child; d. The Mirror. 38. The contemporary Moscow chronicle Troitskaya Letopis describes the work of the icon painters Andrei Rublyov and Daniil Chorniy as begun in May 1408 (see Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, p. 153, note 31). Among the works in Vladimir attributed to Rublyov were panels of St John the Baptist, St Paul, St Peter and the Ascension (Encyclopaedia Britannica, vol. 10, p. 228). 39. In the history of depictions of 'The Last Judgement' the subject was not always treated as a horrific vision. This depended on the aspect Notes 145

that the artist chose to emphasise- the joyful rising of the blessed into heaven, or the fall of the damned. Cf. Rubens's treatment of the theme. 40. For evidence of Daniil's continued existence in the 1420s see note 6. 41. 1 Corinthians 11: 5-6: 'Every woman that prayeth or prophesieth with her head uncovered dishonoureth her head; ... if the woman be not covered, let her also be shorn.' Tarkovsky also saw a reference across time here to the heaps of women's hair in Auschwitz; (see Turovskaya, Tarkovsky, p. 47). 42. 'I wish to make an historical film that is also a topical film. I wish to bring together the mentality of the people of the fifteenth century and that of the people of today', quoted from an interview with Tarkovsky in 1965 published in Sputnik (Moscow Film Festival publication, 1965). See also Cinema 65 (), no. 99, Sept./Oct. 1965, p. 61; U. Gregor, Geschichte des Films ab 1960 (Munich, 1978) p. 273. 43. Gregor, Geschichte des Films ab 1960, p. 273.

Notes to Chapter 4: Solaris

1. At one point the Swedish actress Bibi Andersson was considered for the role of Harey. But Tarkovsky felt that a younger person was needed for the part (see Andrey Tarkovsky, Time within Time: The Diaries 1970-1986 (Calcutta, 1991) p. 5 (For general notes on the mak• ing of the film, see ibid., pp. 3-79.) 2. Ibid., pp. 49ff. Tarkovsky quotes a list of over 35 objections, criticisms and recommended changes with which he was presented from vari• ous official sources. 3. Andrey Tarkovsky, Sculpting in Time (London, 1986) pp. 198f, 208. 4. Stalislaw Lem, Solaris (German translation, Munich, 1983) pp. 22f. 5. Cf. the apple motifs in The Steamroller and the Violin and Ivan's Child• hood; or the Marian metaphors of purification in the jug and water of The Sacrifice. 6. Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 53. 7. See Paracelsus and the story of Undine by Friedrich de la Motte Fouque (1811). For the significance of this legend for the German Romantics and for Tarkovsky, see Felicitas Allardt-Nostitz in Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij, Film als Poesie- Poesie als Film (Bonn, 1981) p. 115. 8. Tarkovsky, Sculpting in Time, pp. 86f. In his book Tarkovsky sets pictures of 'Harey's death and resurrection' opposite two quotations from Corinthians discussing the Resurrection of Christ. 9. Lem, Solaris, p. 83. 10. There are parallels here to the story of Diko-6braz and his brother in Stalker. 11. Tarkovsky, Sculpting in Time, pp. 62ff. 12. Ibid., p. 58. 13. Ibid., p. 199. 14. To what extent the colour changes here are due to technical con• straints or even faulty material is not clear. 146 Notes

15. Red and blue were the colours of the two suns about which the planet Solaris turned. 16. Tarkovsky, Time within Time, p. 100. 17. Tarkovsky, Sculpting in Time, p. 199. 18. Ibid., p. 145. 19. Ibid., p. 148. 20. Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, p. 117. Allardt• Nostitz describes the frozen lake and the rain inside the house as symbols of death commonly used by the Romantics.

Notes to Chapter 5: The Mirror

1. Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 61. 2. Cf. p. 69. 3. Andrey Tarkovsky, Time within Time: The Diaries 1970-1986 (Calcutta, 1991) p. 13. 4. Ibid., pp. 69, 1 and 87. 'Martyrology' (Martyrolog) was the heading Tarkovsky originally wrote over his diary in 1970. The title was sub• sequently used for the extracts from these diaries (1970--86) first pub• lished in 1989. See also Andrej Tarkowskij, Martyrolog, Tagebiicher 1970-1986 (Berlin, 1989) p. 6. 5. The film opens with a prologue in which a television set is switched on. For a discussion of the characteristics of television as a medium, see David Russell, 'A World in Inaction', Sight and Sound, Summer 1990, pp. 174-9. See also Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 129. 6. Tarkovsky, Time within Time, p. 41. 7. See Andrei Rublyov, note 3, p. 142. 8. Tarkovsky, Time within Time, pp. 61f., 73 and 78. Tarkovsky's embit• tered remarks on Yusov's departure may be compared with Yusov's subsequent positive reaction to the film (see Tarkovsky, Sculpting in Time, p. 135). 9. Tarkovsky, Time within Time, p. 97f. 10. Tarkovsky, Sculpting in Time, p. 101 (translation by Kitty Hunter• Blair). 11. This dream episode finds a parallel in the dilapidated state of Tarkovsky's own flat (see Tarkovsky, Time within Time, p. 81). 12. Cf. the moment towards the end of the film when the young girl with the red hair and cracked, bleeding lips, whom the father (Alexei) had once admired and whom he describes to his son in a telephone con• versation, appears to Alexei as a reflection in a mirror. 13. Cf. the scene in the street of the abandoned hill town in Nostalgia, where Gorchakov encounters the reflection of Domenico in the mir• rored cupboard door. 14. At one point Tarkovsky was considering casting Bibi Andersson in the role of the wife and mother. In the end he was unable to obtain permission to do so (see Tarkovsky, Time within Time, pp. 6 and 41). Notes 147

15. was later to play the role of Gorchakov in Nostalgia. 16. Tarkovsky, Time within Time, p. 91. 17. Tarkovsky, Sculpting in Time, p. 143. 18. Ibid., p. 174. 19. See Tarkovsky's interview with Irena Brezna, published in Tip (Berlin), no. 3, 1984. 20. Compare the dress worn by in the part of Masha as a young woman with that of Tarkovsky's own mother, Maria Ivanovna (see Tarkovsky, Sculpting in Time, p. 100, and Tarkovsky, Time within Time, plate 3). 21. Maria Ivanovna Tarkovskaya, Tarkovsky's mother, worked for most of her life as a proofreader in a printing firm. 22. Played by Tarkovsky's second wife Larissa. 23. Tarkovsky, Sculpting in Time, pp. 91f and 156. 24. See Tarkovsky's interview with Brezna. 25. Tarkovsky, Time within Time, p. 19. 26. A translation of this letter is contained in Tarkovsky, Sculpting in Time, p. 195. 27. Cf. the well and the mother in Ivan's Childhood. 28. The sickbed scene and the encounter with death are perhaps echoes of the heart attack Tarkovsky suffered in the early months of 1973 (see Tarkowskij, Martyrolog, p. 116). 29. Kenneth Clark, Leonardo da Vinci (Harmondsworth, Middx, 1959) pp. 28f. 30. Tarkovsky, Sculpting in Time, pp. 108f. 31. Eduard Artemiev, whom Tarkovsky wished to compose the music for The Mirror, as he had done for Solaris and was subsequently to do for Stalker, had too little time to produce a full score. In addition to Artemiev's electronic music, Tarkovsky turned to arrangements of works by J. S. Bach, Pergolesi and Purcell that had autobiographical associations (see Tarkovsky, Time within Time, p. 92, and Tarkovsky, Sculpting in Time, p. 158). 32. Tarkovsky, Sculpting in Time, p. 116. 33. Ernst Bloch, Das Prinzip Hoffnung (Frankfurt, 1973) p. 1628. Bloch speaks of 'Heimat', which corresponds roughly to the English word 'home' in its wide range of meanings.

Notes to Chapter 6: Stalker

1. Arkadi and Boris Strugatski, (Harmondsworth, Middx, 1979). See also the German edition with an epilogue by Stanislaw Lem -note 6. 2. For the history of the inception and making of Stalker see Andrey Tarkovsky, Time within Time: The Diaries 1970-1986 (Calcutta, 1991) pp. 66-182. 3. It was even rumoured that Tarkovsky had destroyed the material in dissatisfaction, or in anger at the cuts demanded of him. See Peter Buchka, 'Die Kunst als Opfer', Siiddeutsche Zeitung (Munich), 148 Notes 30 December 1986. 4. Alexander Knyazhinsky replaced Gosha Rerberg as director of pho• tography. See Tarkovsky's remarks about the latter in Tarkovsky, Time within Time, pp. 146£. 5. Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 200. 6. Arkadi and Boris Strugatzki, Picknick am Wegesrand, with a postscript by Stanislaw Lem (Frankfurt-am-Main, 1981) p. 23. 7. Ibid., p. 212. 8. Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij, Film als Poesie- Poesie als Film (Bonn, 1981) pp. 131-42. 9. The stalker responds to this with a counter-quotation from the Gospel according to St Luke. 10. Strugatzki, Picknick am Wegesrand, p. 212. 11. Tarkovsky, Sculpting in Time, p. 193. 12. Ibid., p. 198. 13. Cf. Nostalgia, note 16, p. 149. 14. Cf. the phenomenon of materialisation in Solaris. 15. Tarkovsky, Sculpting in Time, pp. 155 and 158; Andrey Tarkowskij, Die versiegelte Zeit (Berlin, 1984) p. 185 (the English edition of the work omits the reference to Ioseliani). 16. Tarkovsky, Time within Time, pp. 174 and 181. 17. Tarkovsky, Sculpting in Time, p. 193. 18. At the beginning of the film the glass on the tray would clearly seem to be moved by the vibrations of the passing train. At the end of the film, however, Martha fixes the glasses and a jar with her gaze. They begin to move across the table long before the train approaches. The dog whimpers uneasily. Finally, the glass containing the milk falls from the table. 19. At one point Tarkovsky actually considered making one of his pro• tagonists a woman. See Tarkovsky, Time within Time, p. 105. 20. Tarkovsky, Sculpting in Time, p. 199.

Notes to Chapter 7: Nostalgia

1. Maximilian Sasontovich Beryozovsky (1745-77), also known as Pavel Sosnovsky. Among the works for which he is best known is the opera Demofont, composed in 1773 to a text by Metastasio for the opera in Livomo. 2. Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 202. 3. The title of the film is confirmed in a diary entry dated 17 July 1979; see Andrey Tarkovsky, Time within Time: The Diaries 1970-1986 (Cal• cutta, 1991) p. 188. 4. See Introduction, note 6, p. 138. 5. Tarkovsky, Sculpting in Time, pp. 204-6. 6. Tarkovsky, Time within Time, pp. 195 and 249. The screenplay was finally completed in May 1980. 7. Ibid., p. 203. Notes 149 8. Ibid., p. 198f. 9. Ibid., p. 279. 10. Ibid., p. 328. 11. Cf. Guerra's collaboration with directors such as Angelopoulos, Antonioni, Fellini. 12. Tarkovsky, Time within Time, p. 188. 13. As Gorchakov enters the church one sees the stone figure of an angel submerged beneath the water. 14. The saint who plays such an important unseen role in the film is presumably St Catherine of Siena, the patron saint of Italy, a four• teenth-century mystic who was a mediator between the temporal and ecclesiastical princes of that country. She helped to achieve the return of the papal seat to Rome from its exile in A vignon and played a leading role in the reform of the Dominican Order, whose patron saint she also became. 15. At an earlier stage of the project Gorchakov was to have been killed accidentally in the street by a stray bullet fired by a terrorist (see Tarkovsky, Time within Time, pp. 192 and 242f.). 16. One also recalls the dog in Castaneda's . Eva Maria Schmidt identified the dog with Anubis, the jackal-headed Egyptian god of death (see Jahrbuch Film 83/84, Munich). 17. Tarkovsky, Sculpting in Time, pp. 207ff. 18. The girl is combing the bottom of the pool for objects that have been thrown in. A wheel, a doll, bottles, a lamp lie encrusted at the edge forming yet another still life. 19. Plato, The Republic, Book 7. An early screenplay idea noted on 10 April 1979 (see Tarkovsky, Time within Time, p. 180) bore the title 'The End of the World'. A similar idea is echoed later in the film in the anecdote that Andrei tells Angela in the flooded church about a man 'saved' from a pool of water who explains to his rescuer that he actually lives in the pool. 20. Cf. Tarkovsky's Dostoevsky /Idiot projects. 21. Tarkovsky, Time within Time, p. 174. See also Guardian Lecture (Lon• don, 1981). 22. Tarkovsky, Time within Time, p. 188. 23. Peter Green, 'The Nostalgia of the Stalker', Sight and Sound, Winter 1984, footnote p. 53. 24. There are similar moments in The Mirror, when the young mother looks over her shoulder into the past, or when the camera pans be• tween two different planes of time. 25. Tarkovsky described a visit to Loreto, a well-known place of pilgrim• age in Italy, where, in the middle of the cathedra a house stands, brought there from Nazareth. It is allegedly the house in which Christ was born. Tarkovsky goes on to describe his inability, or reluctance, to pray in a Roman Catholic church. Later, he drove to a ruined church in the midst of which he found a tree growing (see Tarkovsky, Time within Time, pp. 245f.). Cf. Casper David Friedrich's picture of the Eldena Ruins (1836) depicting a house in the ruins of a church. 150 Notes

Notes to Chapter 8: The Sacrifice

1. Gunter Grass, Die Riittin (Darmstadt and Neuwied, 1986); English translation: The Rat (San Diego, 1987). 2. Andrei Tarkovsky in an interview with Annie Epelboin in Paris, 15 March 1986. See English press brochure, The Sacrifice, Swedish Film Institute, Stockholm, 1986. 3. These scenes provide a further example of Tarkovsky' s uncanny sense of anticipation of future tragedy. He was firmly convinced that certain locations were potentially predestined to catastrophe. On the very spot where these sequences were filmed, Olaf Palme was assassinated six months later. 4. Andrej Tarkovskij, Opfer (Munich, 1987) p. 182. 5. Tarkovsky explained that in Russian the word for 'witch' is derived from the verb 'to know'. The fact that a film with a similar title had already been made and that the dual associations of 'witch' and 'knowl• edge' or 'wisdom' were lost in the translation into Swedish and Eng• lish were reasons why Tarkovsky changed the original title (see Layla Alexander, 'Der ratselhafte und geheimnisvolle Andrej Tarkowskij', SF (Soviet Film), 7 /1989). 6. The Sacrifice was 'a settling of accounts with materialism in the West today ... with man's godlessness and lack of spirituality ... and with Tarkovsky's wife' (see Auf der Suche nach der verlorenen Zeit- Andrej Tarkowskijs Exil und Tod, a film by Ebbo Demant, Siidwestfunk TV, Germany, 1987). Demant describes how the tensions in Tarkovsky's relationship with his wife during the final months of his life found expression in the character of Adelaide. At the time of shooting The Sacrifice he was convinced that his wife was a witch, and he went to great lengths to portray her in detail in the film - down to her hair• style. See also 'Tarkovsky's Other Woman', an interview with Susan Fleetwood, Guardian, 6 January 1987. 7. Tarkovskij, Opfer, p. 179. See also Andrej Tarkowskij, Die versiegelte Zeit, rev. edn (Berlin, 1988) p. 259. 8. During the shooting of the final scene, when the fire was laid to the house, the camera jammed. It was impossible to halt the flames, with the result that four months' work was lost. The producers suggested cutting the scene in a new way to salvage some of the material, but the scene was so vital to Tarkovsky that he refused to complete the film without this sequence in the envisaged form. Finally he managed to persuade the producers tore-erect the house and the scene was reshot - this time with two cameras - as Tarkovsky wanted it. All that was left of the house was the chimney stack (as in Ivan's Childhood), which is visible in the scene where Adelaide/Maria sits beside Alexander at the end of his dream. See Regi Andrej Tarkovskij, a film of the making of The Sacrifice by Michal Leszczylowski, 1988. See also Tarkovskij, Opfer, p. 183. 9. Tarkovskij, Opfer, p. 181. 10. This last scene in the sequence was based on a dream Tarkovsky had, Notes 151

in which he saw himself lying dead on the couch. People knelt around him, and among them he saw his mother dressed in white like an angel. Finally, he saw a girl chasing chickens through the house and a woman sitting at his feet whom he thought to be his wife; but when she turned her head it was quite a different face he saw. Tarkovsky managed to persuade the producers to allow him to shoot this unfore• seen additional sequence. Only part of it was used in the film, however. See Layla Alexandra, 'Der ratselhafte und geheimnisvolle Andrej Tarkowskij', SF, 7/1989. 11. Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 209. 12. Tarkovskij, Opfer, p. 178. 13. Revelation 2: 7.

Notes to the Epilogue

1. One might compare his reuvre with those of some of his contemporar• ies: Fran~ois Truffaut (1932-84) realised 25 films in his lifetime and Jean-Luc Godard, born in 1930, had made approximately 50 in the same period. 2. Andrey Tarkovsky, Time within Time: The Diaries 1970-1986 (Calcutta, 1991) p. 66, and Andrej Tarkowskij, Martyrolog: Tagebucher 1970-1986 (Berlin, 1989) pp. 103 and 109. See also Ebbo Demant's film Auf der Suche nach der verlorenen Zeit - Andrej Tarkowskijs Exil und Tod, Siidwestfunk TV, Germany, 1987. 3. Wenders's (1987) with its colour/black and white code, the use of documentary material, etc.; Meszaros's Diary for My Loves (1987) with its inserts of documentary material and time remem• bered; Klimov' s Farewell (1983) with its evocation of the four elements, its images of trees and fruitfulness as symbols of the earth and life, its documentary sequences, and indeed near-quotations from scenes in Tarkovsky's films; or Greenaway's Prospera's Books (1991) with its use of the conventions of painting and architecture, its stilllifes, tableaux and models and the juxtaposition of different planes of consciousness. 4. Auf der Suche nach der verlorenen Zeit; Andrej Tarkowskijs Exil und Tod, film by Ebbo Demant, Siidwestfunk, 1987. 5. Revelation 6: 8. Filmography

The Steamroller and the Violin [Katok i skripka]

USSR, 1960. 35mm; Sovcolour; 46 mins; 1268m.

Production: Mosfilm Direction: Andrei Tarkovsky Screenplay: Andrei Mikhalkov-Konchalovsky, Andrei Tarkovsky Director of Photography: Vadim Yusov Editing: L. Butuzova Music: Vyacheslav Ovchinnikov Musical Direction: E. Khachaturyan Art Direction: S. Agoyan Costumes: A. Martinson Sound: V. Krachkovsky Special Effects: B. Pluynikov, V. Sevostyanov, A. Rudashenko Assistant Director: 0. Gerts Production Manager: A. Karetin

Cast: Igor Fomchenko (Sasha); V. Samansky (Sergei); Nina Arkhangelskaya (the girl); Marina Adzhubey (mother); Yura Brusev; Slava Borisov; Sasha Vitoslavsky; Sasha Ilin; Kolya Kozarev; Gena Klyashkovsky; Igor Kolovikov; Shenya Fedchenko; Tanya Prokhorova; A. Maksimova; L. Semyonova; G. Shdanova; M. Figner.

Ivan's Childhood [Ivanovo detstvo; also known as 'My Name Is Ivan']

USSR, 1962. 35mm; b/w; 97 mins; 2638.7m.

Production: Mosfilm Direction: Andrei Tarkovsky Screenplay: Vladimir Osipovich Bogomolov, Mikhail Papava (based on the story Ivan by Vladimir Bogomolov) Story Editor: E. Smirnov Director of Photography: Vadim Yusov Editing: Ludmila Feyganova Music: Vyacheslav Ovchinnikov Musical Direction: E. Khachaturyan Art Direction: Yevgeniy Chernyaev Make-up: L. Baskakova Sound: E. Zelentsova Special Effects: V. Sevostyanov, S. Mukhin Assistant Director: G. Natanson Military Consultant: G. Goncharov Production Manager: G. Kuznetsov 152 Filmography 153

Cast: Nikolai (Kolya) Burlyaev (Ivan); Valentin Zubkov (Capt. Kholin); Yevgeniy Zharikov (Lt Galtsev); S. Krylov (Cpl Katasonych); (Col. Gryaznov); D. Milyutenko (old man); Valya Malyavina (Masha); Irma Tarkovskaya (Ivan's mother); Andrei Mikhalkov-Konchalovsky (soldier with glasses); V. Marenkov; Vera Miturich; Ivan Savkin.

Andrei Rublyov

USSR, 1964--6. 35mm; b/w (final sequences: Sovcolour); original length: 185 mins; 5180m. First shown: 1966; Cannes Festival: 1969; Soviet release: 1971; London Film Festival: 1972; UK release: 1973.

Production: Mosfilm Direction: Andrei Tarkovsky Screenplay: Andrei Mikhalkov-Konchalovsky, Andrei Tarkovsky Director of Photography: Vadim Yusov Editing: Ludmila Feyganova (T. Egorychevoy, 0. Shevkunenko) Music: Vyacheslav Ovchinnikov Art Direction: Yevgeniy Chemyaev (1. Novodereshkin, S. Voronkov) Costumes: L. Novi, M. Abar-Baranovskoy Sound: E. Zelentsova Special Effects: V. Sevostyanov 2nd Director: I. Petrov Assistant Directors: B. Oganesyan, A Macharet, M. Volovich Production Manager: T. Ogorodnikhova

Cast: (Andrei Rublyov); (Kyrill); Nikolai Grinko (Daniil); Nikolai Sergeyev (Theophanes the Greek); Tarkovskaya (deaf-mute girl); Nikolai (Kolya) Burlyaev (Boriska); Rolan Bykov (buffoon); (Fomka); Yuri Nazarov (Grand Duke/ his brother); (Patrikey); S. Krylov (bell-founder); Bolot Ishalenev (Tartar Khan); N. Grabbe; B. Matisik; A Obukhov; Tamara Ogorodnikhova; Sos Sarkissyan; Volodya Titov.

Solaris

USSR, 1969-72. 35mm, Scope; Sovcolour; 165 mins; 4556m. (some released versions 144 mins)

Production: Mosfilm Direction: Andrei Tarkovsky Screenplay: Andrei Tarkovsky, (based on the novel Solaris by Stanislaw Lem) Director of Photography: Vadim Yusov Editing: Ludmila Feyganova 154 Filmography Music: Eduard Artemiev, J. S. Bach (Choral Prelude in F minor) Art Direction: Mikhail Romadin Costumes: N. Fomina Sound: Semyon Litvinov 2nd Director: Y. Kushnerov Assistant Directors: A. Ides, Larissa Tarkovskaya, M. Chugunova 2nd Cameraman: E. Shvedov Production Manager: Vyacheslav Tarasov

Cast: Natalia Bondarchuk (Harey); (Chris Kelvin); Yuri Yarvet (Snaut); Anatoly Solonitsyn (Sartorius); Vladislav Dvorzhetsky (Berton); Nikolai Grinko (Kelvin's father); Sos Sarkissyan (Gibarian); 0. Barnet; W. Kerdimun; Tamara Ogorodnikhova; T. Malykh; A. Misharin; W. Oganesyan; Y. Semyonov; V. Stanitsky; S. Sumyonova; G. Teykh; 0. Uisilova.

The Mirror [Zerkalo]

USSR, 1974. 35mm; Sovcolour (b/w newsreel sequences); 106 mins; 2954m.

Production: Mosfilm, Unit 4 Direction: Andrei Tarkovsky Screenplay: Andrei Tarkovsky, Aleksander Misharin Poems: Arseniy Tarkovsky, read by the poet Director of Photography: Georgi Rerberg Editing: Ludmila Feyganova Music: Eduard Artemiev, J. S. Bach, Giovanni Batista Pergolesi, Henry Purcell Art Direction: Nikolai Dvigubsky Sets: A. Merkunov Costumes: N. Fomina Make-up: V. Rudina Sound: Semyon Litvinov Lighting: V. Gusev Special Effects: Y. Potapov 2nd Director: Y. Kushnerov Assistant Directors: Larissa Tarkovskaya, V. Karchenko, M. Chugunova Camera Operators: A. Nikolaev, I. Shtanko Producer: E. Vaisberg Production Manager: Y. Kushnerov

Cast: Margarita Terekhova (Aleksei's mother and Natalia); Filipp Yankovsky (!gnat, aged five); Ignat Daniltsev (Aleksei and !gnat, aged twelve); Oleg Yankovsky (father); Nikolai Grinko (man at printing works); Alia Demidova (Elizabeth); Yuri Nazarov (military instructor); Anatoly Solonitsyn (man at fence); Innokenti Smoktunovsky (narrator - voice of Aleksei); Maria Tarkovskaya (Aleksei' s mother as an older woman); Tamara Ogorodnikhova; T. Reshetnikhova; Y. Sventikov; E. del Bosque; L. Correcher; A. Gutierres; D. Garcia; T. Parnes; Teresa del Bosque; Tamara del Bosque. Filmography 155 Stalker [original title of scenario: 'The Wish Machine']

USSR, 1979. 35mm; colour; 163 mins; 4466m.

Production: Mosfilm, Unit 2 Direction: Andrei Tarkovsky Screenplay: Arkadi and Boris Strugatsky (based on their novel Roadside Picnic) Poems: Arseniy Tarkovsky and Fedor Tyuchev Director of Photography: Aleksander Knyazhinsky Editing: Ludmila Feyganova Music: Eduard Artemiev Musical Direction: E. Khachaturyan Musical Supervision: R. Lukina Art Direction (Production Designer): Andrei Tarkovsky Sets: A. Merkulov Artists: R. Safiullin, V. Fabrikov Costumes: N. Fomina Make-up: V. Lvova Sound:V.Shcharun Lighting Supervision: L. Kazmin Assistant Directors: M. Chugunova, Yevgeniy Tsimbal Camera Operators: N. Fudim, S. Naugolnikh Assistant Camera Operators: G. Verkhovsky, S. Zaitsev Assistant Editors: T. Alekseyeva, V. Lobkova Assistant Lighting: T. Maslennikhova Production Group: T. Aleksandrovskaya, V. Vdovina, M. Mosenkov Production Manager: Larissa Tarkovskaya Production Supervision: Aleksandra Demidova

Cast: Aleksander Kaidanovsky (stalker); Anatoly Solonitsyn (writer); Nikolai Grinko (professor I scientist); Alisa Freindlikh (stalker's wife); Natasha Abramova (stalker's daughter); F. Yuma; E. Kostin; R. Rendi.

Nostalgia []

Italy, 1983. 35mm; Eastmancolor; 126 mins; 3545m.

Production: Opera Film (Rome) for RAI TV Rete 2 in association with Sovinfilm, USSR Direction: Andrei Tarkovsky Screenplay: Andrei Tarkovsky , Director of Photography: Giuseppe Land Editing: Erminia Marani, Amadeo Salfa Music: Giuseppe Verdi, Ludwig van Beethoven, Russian song Musical Consultant: Gino Peguri Art Direction: Set Dresser: Mauro Passi 156 Filmography Costumes: Lina Nerli Taviani, Annamode 68 Make-up Supervision: Giuglio Mastrantonio Sound: Remo Ugolinelli Sound Effects: Massimo Anzellotti, Luciano Anzellotti Special Effects: Paolo Ricci Assistant Directors: Norman Mozzato, Larissa Tarkovskaya Camera Operator: Giuseppe de Biasi Assistant Editor: Roberto Puglisi Sound Mixing: Danilo Moroni Sound Re-recording: Filippo Ottoni, Ivana Fidele Producer: Francesco Casati Executive Producers: Renzo Rossellini, Manolo Bolognini Production Executive: Lorenzo Ostuni (RAI) Production Supervision: Filippo Campus, Valentino Signorelli Production Administration: Nestore Baratella

Cast: Oleg Yankovsky (Andrei Gorchakov); (Domenico); (Eugenia); Patrizia Terreno (Gorchakov's wife); Delia Boccardo (Domenico's wife); Alberto Canepa; Laura de Marchi; Raffaele di Mario; Rate Furlan; Livio Galassi; Elena Magoia; Piero Vida; .

The Sacrifice [Offret]

Sweden, , 1986. 35mm; Eastmancolor; 145 mins; 4085m.

Production: Swedish Film Institute, Stockholm, Argos Film SA, Paris Direction: Andrei Tarkovsky Screenplay: Andrei Tarkovsky Director of Photography: Editing: Andrei Tarkovsky, Michal Leszczylowski Editing Consultant: Henri Colpi Music: J. S. Bach (St Matthew Passion), Japanese instrumental music and Swedish shepherds' calls Art Direction: Anna Asp Costumes: Inger Pehrsson Make-up and Wigs: Kjell Gustavsson, Florence Fouquier Sound and Mixing: Owe Svensson, Bosse Persson Special Effects: Svenska Stuntgruppen; Lars Hoglund, Lars Palmqvist Continuity: Anne von Sydow Assistant Director: Kerstin Eriksdotter Assistant Director and Post-Production: Michal Leszczylowski Camera Assistants: Lasse Karlsson, Dan Myhrman Casting: Priscilla John, Franc;oise Menidrey, Claire Denis Technical Manager: Kaj Larsen Executive Producer: Anna-Lena Wibom (Swedish Film Institute) Production Manager: Katinka Farago, Farago Film AB Filmography 157

Cast: Erland Josephson (Alexander); Susan Fleetwood (Adelaide); Valerie Mairesse (Julia); Allan Edwall (Otto); Gudrun Gislad6ttir (Maria); (Victor); Filippa Franzen (Marta); Tommy Kjellqvist (Little Man); Per Kallman and Tommy Nordahl (ambulancemen). Index

Abalov, E., 2, 24 Boris Godunov, 4, 138 Abbado, Claudio, 4 Bresson, Robert, 136 Abraham, 133, 143 Brezhnev, Leonid, 80 Alexander, Layla, 150-1 Brezna, Irena, 139, 147 Allardt-Nostitz, Felicitas, 12, 97 Bruegel, Pieter, 50, 71-2, 90, 144 anamnesis, 82, 89 'The Hunters in the Snow', 71 Andersson, Bibi, 145-6 Buftuel, Luis, 136 Andrei Rublyov, 2, 5-6, 10, 12, 14-15, Burlyaev, Nikolai (Kolya), 30, 57, 21,26,32,39-62,63,74-5,79,82, 142, 144 88-9,93,105,140,142,144 Byzantine Empire, 40-2 Andronikov Monastery, 42, 45, 142 , 4, 62, 64, 80, Andropov, Yuri, 3 108, 120 Angelopoulos, Theo, 149 Castaneda, Carlos, 149 Anubis, 103, 149 Cerberus, 103 Apocalypse, 5-6, 28, 97-8, 102, Chaadayev, Pyotr, 88 105, 137, 141 Chaliapin, Feodor, 37 Arterniev, Eduard, 14, 76, 103, 147 Chagall, Marc, 86 artist's role, 5, 18-20, 36, 41, 45-9, Chapayev, 140 61 Charon, 94 Auschwitz, 145 Chernobyl, 8, 96, 105, 120 auteur film, 6, 24, 26 Chernyaev, Yevgeniy, 24 Chiarini, Luigi, 62 Bach, Johann Sebastian, 14, 76, 91, child's perspective, 19, 25, 36, 84, 128, 136, 147 86, 92, 134 Baglivo, Donatella, 138, 141 childhood, 1, 7-8, 10, 23, 26, 27-9, Bagno Vignoni, 107, 113--14, 118 30,33,35--6,56,70-1,79,82-3, Banionis, Donatas, 76 85-6,88-90,92,94 Batu Khan, 39 Chorniy, Daniil, 41, 59-60, 142, Beethoven, Ludwig van, 103, 105, 144-5 113 Christ, 48, 51-2, 58, 123--4, 135, Belorussia, 40 144 Bergman, Ingmar, 136 cinema verite, 79' 83 Berlin, 4 colour in film, 15, 21, 41, 53, 55, Beryozovsky, Maximilian 63, 73-4, 79, 91, 104-5, 118, Sasontovich, 72, 107-8, 110, 136, 140, 145 112, 148 colour code, 15, 21, 73, 91, 103-5, black and white in film, 15, 21, 118, 126, 134, 136, 151 30, 52-3, 73--4, 79, 89, 104, 116, Constantine XI, 142 118, 130-1, 134, 136, 140 Constantinople, 143 Blake Society, 5, 139 Covent Garden Opera, 4 Bloch, Ernst, 92 Cronaca Familiare, 26 Bogomolov, Vladimir, 24-6, 29 Bondarchuk, Natalia, 76 Dakus, 113

158 Index 159

Daniil, see Chorniy, Daniil Golden Fleece, Jason and the, 97 Daniltsev, Ignat, 3, 81 Gorbachev, Mikhail, 137 Dante, Alighieri, 43, 83, 95 Goskino, 3, 64, 80, 137-8 Demant, Ebbo Grail, 95 Auf der Suche nach der verlorenen Grass, Giinter, 120, 134 Zeit; Andrej Tarkowskijs Exil Greenaway, Peter, 151 und Tod, 139, 143, 150-1 Guardian Lecture, 149 Demofont, 148 Guerra, Tonino, 107-9, 149 Diary for My Loves, 151 Divine Comedy, 83, 95 Hitler, Adolf, 28 Dnieper, 27, 38 Hoffmann, E. T. A., 4, 12, 97 Don Quixote, 68, 72 humanism, 5, 12, 42, 47-8, 70, 141 Donskoi, Demetrius, 40 Dostoevsky, Feodor, 4, 12, 91, identity, merging of, 7, 12, 35, 60, 101, 116, 136, 138, 149 67, 81, 83, 113-14, 131, 135 Dovzhenko, Alexander, 14, 34, 36, Idiot, The, 12, 101, 116, 149 136, 142 immortality, 67, 78, 82-3, 122 dreams, 6-7, 11, 15, 22, 25, 27, Ioseliani, Otar, 103, 136, 148 29-36, 52-1, 55, 58, 70, 73, 80-1, Isaac, 133 86, 89, 92, 94, 104, 110, 112-13, Italy, 3-4, 107-10, 112, 114, 117, 118, 126, 131, 133-6, 142, 150 119, 125--6 Diirer, Albrecht, 6, 28, 141 Ivan I, 40 Ivan III, 40, 142 Earth, 34 Ivan IV (the Terrible), 142 Eisenstein, Sergei, 13-14, 91 Ivan's Childhood, 2, 6, 8, 10, 12, environmental destruction, 8, 95, 14-16, 22, 24-38,41, 43, 46, 49, 108 56-7,85,89,103,141-2,144-5, Epelboin, Annie, 150 147, 150 'Expo 70', 63 Ivanov, Vyacheslav, 9 extrasensory phenomena, 106, 136 Eyck, Jan van, 104 Japan, 63 Jason and the Golden Fleece, 97 Farewell, 151 Josephson, Erland, 122 Fellini, Federico, 115, 149 Field of Snipes, see Kulikovo Polye Kaidanovsky, Aleksander, 136 Field of Virgins, 60 Khanate of the Golden Horde, 39 Fleetwood, Susan, 150 Kiev, 39-40 Florence, 3 Klimov, Elim, 137, 151 Francesca, Piero della, 111-12 Kluge, Alexander, 4 'Madonna del Parto', 91, 111-12 Knyazhinsky, Alexander, 148 Friedrich, Caspar David, 142, 149 Kokoshka, Oskar, 86 Furmanov, Dmitri, 140 Konchalovsky, Andrei, see Mikhalkov-Konchalovsky Gandhi (Mahatma), 122, 144 Kubrick, Stanley, 76 Genghis Khan, 39 Kuleshov, Lev, 14 German Romanticism, 12, 90, 97, Kulikovo Polye (Field of Snipes), 146 40, 79, 88, 142 Godard, Jean-Luc, 151 Kurosawa, Akira, 137 160 Index

Last Judgement, 42, 44, 50-1, 55, Motte Fouque, Friedrich de Ia, 60, 144 145 Lem, Stanislaw, 63, 67, 73-5, 77, music and sounds, 14-15, 29, 96,98 34-5, 37, 55, 57, 76, 91, 103, Solaris, 63 113, 119, 128-9 Leningrad, 80 Leonardo da Vinci, 37, 90-1, nature morte, see still life 123-5, 128, 130, 136 nostalgia, 1, 10, 68, 71-2, 94, 'Adoration of the Magi', 37, 91, 107-11, 114, 117-19, 137 123, 125, 131 Nostalgia, 3, 6--8, 10, 12, 14, 32, 'Ginevra de' Bend, 91 36--7, 72, 84, 91, 96, 103, Leszczylowski, Michal, 144, 150 107-19, 121-2, 125-9, 146, 148 Regi Andrej Tarkovskij, 150 Novalis, 12, 97 levitation, 8, 46, 72, 86, 105, 127, Novgorod, 40 131 Nykvist, Sven, 127 Lithuania, 40 London, 4-5 Oschelbronn (anthroposophical London Film Festival, 64 clinic), 3 Lopushansky, Konstantin, 136 old master painting, 9, 50, 71, 90, Loreto, 149 117, 126 Old Testament Trinity, 44, 72, 82, Madonna, see Virgin Mary 143 Magic Flute, The, 98 Orpheus, 97 Mann, Thomas, 4 Ovcharov, Sergei, 136 Mao Zedong, 89 Ovchinnikov, Vyacheslav, 14, 55, Mary Magdalene, 52 57, 140, 144 Mayakovsky, Vladimir, 139 memento mori, 50, 130 Palaeologa, Sofia, 142 memory, 7-8, 52, 69-70, 73, 78, 82, Palme, Olaf, 150 86, 89, 92, 108, 119, 136 Papava, Mikhail, 25 Meszaros, Marta, 151 Paracelsus, 145 Metastasio, 148 paradise, 6, 10, 36, 70, 84-5, 94-5, Mikhalkov-Konchalovsky, Andrei, 102, 104, 106, 135 16, 42, 140 Paradzhanov, Sergei, 74, 136 Mirror, The, 1, 3-4, 7-8, 10, 13-14, parapsychology, 8, 11, 130 16, 36-8, 43, 46, 57, 61, 69, Paris, 3-4, 80 71-2, 78-92, 105, 119, 122, 125, Pasternak, Boris, 136 131, 134, 138, 140, 142, 144, , 87 146--7, 149 Pergolesi, Giovanni Battista, 147 Mizoguchi, Kenji, 137 Plato, 82, 115, 149 montage of attractions, 13, 91, 139 Poland-Lithuania, 39-40 Moscow, 1, 4, 40, 62, 64, 80, 94, prefiguration, 50, 144 143 Prospera's Books, 151 Moscow Film Festival, 5 Proust, Marcel, 7, 69 Mosfilm, 2, 16, 24, 74, 140-1 Pskov, 40 motifs, see Tarkovsky, Andrei psychokinesis, see telekinesis Arsenievich Pudovkin, Vsevolod, 14 Index 161 Purcell, Henry, 147 Shakespeare, William, 129, 134-5 Pushkin, Alexander, 43, 88-9, 138 Hamlet, 4, 138, 144 A Midsummer Night's Dream, 134 RAI, 3 silence and speech, 6, 47-8, 57-8, Rasumovsky, Count, 107 87, 105, 121-2, 133, 135 Raush, Irma (Tarkovsky's 1st wife), Sivash, Lake, 38, 89 3, 81 Smoktunovsky, Innokenti, 84 Ravel, Maurice, 103 Sokurov, Alexander, 136 Renaissance, 6, 8-9, 39, 47-9, 91, Solaris, 3, 6-7, 11-12, 45--6, 63--77, 123, 141 78, 80, 86-7, 90, 94-5, 102, 114, Rerberg, Georgi (Gosha), 79-80,148 144, 147-8 resurrection, 44, 50, 67-8, 70, 77, 102 Solonitsyn, Anatoly, 76, 126 Revelation of StJohn, see Apocalypse Sosnovsky, Pavel, see Beryozovsky Riga, 137 Soviet authorities, 2-3, 5, 26, 36, Romanov, Alexei, 64 41,61-2,80,107-8,137 Rome, 118 Soviet cinema, 2, 4, 14, 137, 140 Romm, Mikhail, 2, 16 Soviet Union, 1-2, 4, 20, 87-8, 93, Rothschild, Thomas, 11-12 125, 137 Rousseau, Jean Jacques, 89 Spanish Civil War, 89 Rubens, Sir Peter Paul, 145 Spasski Cathedral, 142 Rublyov, Andrei, 1, 36, 41-4, Stalingrad, 89 46-61,72,90,116,122,142-4 Stalin, Joseph, 85, 87 ruins, 3, 31-3, 49, 102, 112-13, , 13, 20, 44, 137 116-17, 119, 123, 141 Stalker, 3, 6, 8-11, 13, 36, 45, 68, Russia, 39, 43--5, 107, 109, 113, 73, 75, 93--106, 113, 116, 119, 119, 125 128, 134, 138-40, 145, 147 Russian Orthodox Church, 9, 40 State School for Film (VGIK), Ryazan, 40 Moscow, 2, 16, 138 Steamroller and the Violin, The, 2, 14, sacrifice, 5-6,57, 60,111,114-16, 16-23,63,134,136,140,144-5 120-3, 125-7, 130, 132-5, 137 Steiner, Rudolf, 4 Sacrifice, The, 3--9, 11-12, 14-16, still life, 9, 67, 70-1, 90, 103-4, 32,36-8,48,56-7,72,86,91, 117, 130 96, 101, 104-5, 108, 112, 114-15, Strugatski, Arkadi and Boris, 93, 118, 120-35, 138-40, 144-5, 150 95--6, 112 St Catherine (of Siena), 112, Roadside Picnic, 93, 98 114-15, 121, 149 Styx, 94 St Genevieve des Bois, 5 Suzdal, Prince of, 39 StJames's Church, London, see Sweden, 3, 126 Blake Society Swedish Film Institute, Stockholm, StJohn the Divine, 137 150 Sancho Panza, 68 , 9, 94, 117, 124 San Gregorio, 109 synchronism of time, 50, 143 Sartre, Jean-Paul, 36 Schiller, Friedrich von, 113 Tarkovskaya, Larissa Pavlovna Schmidt, Eva Maria, 149 (Tarkovsky's 2nd wife), 3, Second World War, 1, 26,28-9, 137 108, 147, 150 162 Index Tarkovskaya, Maria Ivanovna telekinesis, 96, 105, 139, 148 (Tarkovsky's mother), 1-2, Tempi di Viaggio, see A Time to Travel 78-9, 81-4, 86, 90, 108, 112, Terekhova, Margarita, 81, 91 125, 147 Theophanes the Greek, 41-3, Tarkovskaya, Marina (Tarkovsky's 47-51,54,57-61,144 sister), 1-2 time, 6-7, 9, 15, 69-70, 78, 80, 82, Tarkovsky, Andrei (Andryusha) 89, 92, 103, 108, 118-19 (Tarkovsky's son), 3, 81, 108, Time to Travel, A (Tempi di Viaggio), 124-5 108 Tarkovsky, Arseniy Alexandrovich Tretyakov Gallery, 143 (Tarkovsky's father), 1, 12, Troiza Monastery of St 16,80-2,86,108,111,141 Sergius, 42, 48, 61, 143 Tarkovsky, Andrei Arsenievich, Truffaut, Fran<;ois, 151 films, see titles of individual films Turovskaya, Maya, 10, 18, 26, 141 motifs, Tuscany, 3 apples, 15, 17, 21-2, 34, 36-7, Tver, 40 50, 71, 97 2001: A Space Odyssey, 76 balloons, 45-6, 72, 89-90 Tyuchev,Feodor, 105 bells, 8, 31-2, 42-4, 46, 49, 56-7, 59, 111, 142 Ukraine, 40 birds, 59, 71, 90, 112 Undine, 67, 145 bread, 18, 22, 34, 71, 117 universality, 28, 38, 126, 136 dogs, 8, 15, 71-2, 96, 101, 103-5, unities, 58, 103 113-14, 118, 128, 149 USA, 3 elements, 49-50, 102, 117, Uspensky Cathedral, 59, 143 126-7, 151 Utopia, 85, 113 fire, 56, 90, 118, 121, 127 flight, 8, 33, 37, 45-6, 56, 86, 102 vanitas motifs, 6, 9, 49-51, 70-1, horses, 8, 34, 37, 46, 54, 56-7, 83, 91, 102, 104, 117, 130, 144 71, 118, 123, 137,139 Vasiliev, Georgi and Sergei, 140 milk, 8, 18, 22, 56, 80, 85, 90, Vassili I, 40 103, 115, 127, 148 Vassili III, 40 mirrors, 8-9, 21-2, 65, 72, 84, Venice, 143 92, 117-18, 127, 130, 146 , 2, 26, 36, 62 rain, 8-9, 72, 101-2, 117, 146 Verdi, Giuseppe, 113, 119 trees, 35-8, 123-4, 142 Vertov, Dziga, 14 water, 9-10, 14, 21-2, 34, 37, 56, VGIK, see State School for Film, 67, 77, 81, 90, 92, 98, 101-4, Moscow 116, 118-20, 127, 130, 139, 142, Vinci, Leonardo da, see Leonardo 145, 149 da Vinci wells, 34, 95, 97, 142 Virgin Mary, 9, 12-13, 87, 91, 106, 112, 116, 123-4,130-1, 145 projects, 4 Vladimir, 39-40, 42-3, 46, 48, 50, women, 12-13, 60-1, 67, 86-7, 53-5,59,143-4 91, 105, 110-12, 130 Tartars, 39-40, 42-4, 51, 54, 60-1, Wenders, Wim, 151 88, 142 Wings of Desire, 151 Tartini, Giuseppe, 107 witches, 12, 121, 130-1, 150 Index 163 women in Tarkovskys films and Yuryevetz, 1 relations with, see Yusov, Vadim, 24, 63, 79, 140, 146 Tarkovsky, Andrei Arsenievich Zagorsk, 42 Yankovsky, Oleg, 81, 146 Zavrazhie, 1 Yarvet, Yuri, 76 Zurlini, Valerio, 26 Yermash, Feodor, 3, 80, 137 Zvenigorod, 54, 63, 143