I never understand tarkovsky, everytime I first finished one of his movies I felt extremly confused about what I saw and about what tarkovsky wanted to say. But what I know is that every of his films has some aestetic power that makes all of his shots so incredible. I have a strange fascination while watching that makes me stay attached to the screen until the last second even without really understanding everything.
That's the magic of Tarkovsky, he thoroughly understood the potential of cinema in all its aspects, especially from an aesthetic standpoint. If you have the means, try to acquire and read his book "Sculpting in Time", it will give you a clear picture of the machinations and an uderstanding of the power within his works. Cheers!
I've been watching tarkovski repeatedly since the late 80s, his films never dissapoint if you're looking for something philosophical, mystical, poetic, beautiful, and dreamlike. He's like the opposite of Hollywood, for me Tarkovski's films are the closest thing to cinematic works of art there is . Thanks for this, my favourite was always The Sacrifice, but I also love Nostalgia, stalker and mirror. °•●○☆♡
Glad to meet another fellow Tarkovsky fan, Hugh! I find Tarkovsky to be a balm for this hectic, shallow and often ugly world. Like you said, his films are riddled with beauty, they are contemplative and expressive, welcoming and profound, sensitive and ecstatic, lyrical and humane, hence why they appeal to me so much too. All the best, my friend!
Thank you DER COMICMAN. Tarkovsky is certainly one of my favourite directors, if not the one I revere the most. And Nostalghia is one of his finest gems.
Hi Jamie, glad you found it helpful! Make sure to check the other parts to get a more complete picture of how the film works and what's it about. Cheers.
Thank you genkishooto, that's quite a compliment. I'm sure there are other better written UA-cam videos and essays, especially because I'm not a native English speaker, but if you enjoyed this analysis, I can only humbly express my satisfaction. Thanks for stopping by and for your praise, cheers!
Hey Jeswin, thank you so much, I'm really glad you appreciated this presentation. It's a lot of work setting up these videos, so getting positive feedback is incredibly rewarding. Cheers!
Water is a symbol of life and purification, fire is a symbol of "light of wisdom"; See what they did to the lake they soaked in, the lake drained, the bottom filled with moss and debris, there were coins - greed and fame, wine bottle - ignorance, bicycle - old culture; or a scene of the dilapidated old town that Andrei had visited, the floor submerged in water, a statue of an angel covered in seaweed, a cathedral without a roof. The old town is located in the high rock but abandoned, the new town was moved down the hill, this is also meaningful. What did man do with fire? That so-called civilization gave Domenico the fuel tank and encouraged him to set himself on fire, and when he called for help they stood there watching, what he said, did they understand? nothing difficult to understand, he said they listened, they put up banners and banners in support, but they encouraged him to look to death and then stand there and watch him die, it was the "light wisdom "that the human world in the present is pursuing, the" light "used to commit suicide; meanwhile they prevented him from walking through the lake and thinking that it was crazy and dangerous, it was futile! If that place - the square had water, Domenico would not have burned to death. go to my web site chi-blog(.)com, you will have answers about Andrei Tarkovsky movies
You have some interesting interpretations there, it's always interesting to find how different people perceive the same images. Thanks for the interest and stay tuned for part 4.
Not quite so. Whilst looking at the elements in general, you can perceive them however you like and according to your culture. But when conveyed with specific direction, they will no longer be symbols at all. Of course, provided you are watching a good film.
I just found your channel and loved this Nostalghia analysis. Definitely going to have a look at your other videos. I'm fond of Tarkovskj's and Bergman's films. Keep going, great work:)
Hi Rebecca, that's great to hear, glad you've enjoyed it. Make sure to check the in-depth analysis on Zerkalo, which is currently undergoing, as well as some of the essays on Bergman's themes. Cheers.
@@PlanSéquenceFilmArtI intend to use some of your opening statements and “introduction sections” in my classroom, as models for how analysis can be effectively and respectfully done. (Also, have you ever watched Twin Peaks or other David Lynch works?) Thanks again
@@TPgrammar I'm honoured you have deemed my content or some of its structure worthy of being used as an example in your classes. I have seen quite a few David Lynch films (Eraserhead, Mulholland Drive, Blue Velvet, Lost Highway, etc ), although I'm afraid I am still not yet acquainted with his Twin Peaks works. All the best.
Thank you, for the appreciation. The final Part 4 , coming in a couple of weeks, features some comparisons with similar aspects in Angelopoulos films, perhaps you'll be interested as well.
@@PlanSéquenceFilmArt Of course it would be very interesting my friend. I study in a Drama School here in Greece and we are assigned of seeing of seeing and analyzing fistrly Nostalghia and secondly Offret, our professor suggested before seeing Offret reading Dostoyesky's masterpiece The idiot. Many people have seen your videos and have been benefited from them. Also i would like to say to things.. When i saw the film a thought two things: first i thought of Persona (Bergman) because he was on of the first director to use the medium of film for other purposes except of entertainment, and secondly when i saw the crazy caracter i thought of Diogenis in Ancient Greece, who as i know from school years, he was standing in front of statues and asking for money in Ancient Greece and others asked him what he was doing, he said i am exercising in failure. So afterwards when i saw your video and you mentioned this two things i was really content
@@thanasoni3519 It's great that multiple people have benefitted from watching these videos, I'm really happy for them. And indeed, Bergman was a great influence on Tarkovsky, as one of his favourite directors, and he is quickly mentioned again on Part 4, while the simultaneously eccentric and wise nature of Diogenis is definitely present in Domenico, as a representation of the holy foolishness (Διά Χριστόν σαλότητα), that is such a significant cultural aspect in Russia (юродивый) and present in many of Dostoyevsky's novels, Brothers Karamazov, The Possessed and especially in The Idiot, through Prince Myshkin. Your professor's recommendations are surely very appropriate and meaningful, I can imagine you'll be learning quite a lot from him.
Hey Thanasoni, I just recently remembered you, as I uploaded the first part of an in-depth analysis of Greek master Theo Angelopoulos' Landscape in the Mist. Perhaps it will be interesting to you. Anyway, hope you are doing alright. Cheers!
Thank you for making this. This is a brilliant analysis of what I think is Tarkovsky's best film. It seems that for the first time, everything came together. This is saying alot as The Mirror and Stalker are also masterpiece works.
Hey Matt, you are very welcome, I'm just glad you have found these series of essays useful. After watching it more than two handfuls of times, like you, I do also think Nostalghia ranks at the same level of Stalker and Mirror. It's Tarkovsky at its pinnacle, a representative work of his most intellectually mature level. Thank you again for the appreciation.
@@PlanSéquenceFilmArt I am not a big believer in rankings because it's art and it strikes emotion in everyone differently. It seems he had to find The Mirror in the edit and he shot Stalker 3 times, which I think speaks to his insane perfectionism. Maybe I am romanticizing it, but being out from under the specter of Soviet control in Nostalghia I see a film made by a clear headed and unafraid master artist who finally achieved a singular vision.
@@mattcalt Me neither, the usage of the word ranking in my previous comment pertains merely to the category where I would find the movie when considering how it affected me on an emotional level, which to me would be hard to detach from Mirror and Stalker, since like you I see them all as masterpieces. Nevertheless, I do believe your reasoning to make sense and that specific context is one of the aspects I aimed to highlight during these series as useful to comprehend the work. Thanks again for your engagement with this. Cheers.
@@PlanSéquenceFilmArt what are your thoughts on Andrei Rublev (Passion of Andrei)? I am working on this theory that perhaps the Prologue, 8 chapters and Epilogue are somehow related to the 10 Commandments. I haven’t seen any analysis that points in that direction. Maybe I am wrong and out if my mind. The Foundry scene has to be among the most epically under discussed scenes in cinema.
@@mattcalt I didn't have the chance to watch Andrei Rublev as much as I did his later films, though from what I can recall, it is nonetheless an extraordinary work. For me, the foundry scene is representative of the triumph of faith, to believe in something that lies within us, an imanent essence bequeathed and shared through life, regardless of the abstract conception attributed by mankind. It is a breathtaking and stirring scene that certainly belongs to the pantheon of filmmaking history. As for the 10 commandments inspiration, I haven't noticed a connection, but it is a theory worth meditating upon and one which I will consider in future viewings.
Thank you sir for this great analysis. I am a devotee of both Tarkovsky and Kubrick.Can you please do an understanding session of Tarkovsky's The Mirror? I will be highly obliged if you do so. Once again thank you very much sir. Waiting for more explanations of the films of Sir Andrei Tarkovsky.
Thank you for your words Willhem Crool. I definitely intend to do an analysis on The Mirror as well, but first I still have to finish the full analysis on Nostalghia, which will require at least one additional video. Stay tuned for new uploads.
Hi Willhem, don't know if you noticed but I recently uploaded the first part of an in-depth analysis of The Mirror. Have a look at it if you'd like. Cheers.
hi, i saw the movie last night for the first time and by searching the internet, i discovered your video. Very interesting. thank you. Just a clarification, the man in the church is not a priest, but a sacristan, that is, a custodian, layman, of the church.
Unfortunately all the themes and metaphors went right pass me with this film. Which is strange as I liked the others I have seen so far (Ivan's Childhood, Andrei Rublev, Solaris, The Mirror and Stalker). I found his other works more accessible to newcomers and foreign film watchers. And this is the first time I had to go on YT to find an explanation for the meaning and that is why I am here. So I hope I will understand your explanation of the film. I still have The Sacrifice in my collection to watch and I am curious how his last film will turn out.
Hey zaltmanbleroze, you are quite right, as I mention in the video, Nostalghia can be rather opaque at times and is definitely not one of the easiest of the Tarkovsky films, but if you delve deep into it, the meaning emerges and the effort becomes very rewarding. I envy you, you still have The Sacrifice to watch, I wish I could watch it for the first time again, it has a spellbinding quality to it, one of Takrovsky's finest. Cheers!
After watching your Part 1 review of Nostalghia, I watched the movie. I will post my take on it here with the caveat that I no doubt missed a lot upon one viewing, and may have dozed a bit intermittently due to strabismus in left eye -- strain causes narcolepsy. So I could be wrong -- goes without saying. I am trying to learn from Tarkovsky. His style if not technique as well, are paradoxical to Hollywood. By that I mean he goes against the doxology of moviemaking as commercial activity and entertainment -- neither of which particularly interests Tarkovsky. Posted separately if I can manage it. Unless it won't post for You Tube algorythms, as I already posted on site where I viewed the movie.
When things turn to crises, to resolve the problem we must see where things went off the rails. Return to the foundations to reexamine if that is solid, then rebuild having learned to avoid the mis-takings that led down the path to disaster -- or in keeping with the building metaphor -- to the bad design or poor craftsmanship or materials not fit for purpose . . . This is what Domenico was more than alluding to in his 'man on horseback' speech before he alights himself and Beethoven's Ode to Joy is chorused, creating drama in counterpoint. A court jester for the public, seeming crazy to others while telling his truths. A poet and professor decades past told me that all stories could be generalized under a few original tales. He said Hamlet was one, Don Quixote another, I forget the rest but could suggest a few myself. Voltaire's Candide for one. This movie Nostalghia is the Don Quixote story retold, although there is little comedic in the drama, rather tragedy. Well there may be comedy, but not portrayed as such but left up to the audience to smile at internally, like the scene of too Catholic Italian women imploring the virgin for conception. There's humor in that but veiled. As I understood the film, it was about Tarkovsky's own displacement like a refugee from beloved childhood in Russia, which was evident in Mirror. Hence the name Nostalghia. I was able to follow the story more easily than say, Mirror, by now knowing that the black and white scenes are dreaming. But as with Quixote, Tarkovsky was a paradox between the existential childhood of Russia and the idealistic being of thoughts about cinema and how to portray life. Or so I think.
Hamlet, Don Quixote, maybe Homer's Odyssey was another, though that also a journey like Quixote. Well anyhow -- would make for a good essay question to World Lit students. If all literature was generalized or reduced to archetypical tales, what works would be the originals?
@@rockyfjord3753 I believe you are quite correct, the themes you mentioned of reassessing established norms and conventions (leading back to Descarte's scepticism as mentioned by you in another post), the role and purpose of the perceived madman (which nevertheless remains wise from a perspective), Tarkovsky's emotional displacement amidst the Western and Catholic culture, are all address in the later parts with more or less detail. Nostalghia in many ways can be considered an unofficial companion of Mirror, which shall be discussed in more detail in a future video of the Mirror's series. Thanks for the interest once again.
This is great example of how the quality of a film, and its perception can be at odds with each other. As it was an early International co-production (primarily between Italy and USSR) it was received with a lot of scepticism. At the time, non-hollywood cinema was deemed important as 'culture vessels', so this obviously was going to be a corruption of that concept. They are kind of right in that sense. But corruption is one of the main themes of the film anyway, so its appropriate. Each culture tempts and torments the other with aesthetics, material worth, concepts of freedom and expression and spiritual purpose. Each culture reveals significant faults in the other. It a much more modern concept than I think people were ready for at the time (especially coming out of the cold war). It also didn't help that personally T. is a bit of a bloviated git. He was correct that his film was the best, but wow, was he an ass about it!
I agree with much of what you say, but my goodness did you give me a great chuckle with the "bloviated git" comment! Now that's a delightfully sophisticated jab. I think I'll remember that for a long time. Thanks for your input and thoughts also. Cheers.
@10:50 it is a good meditation, but genuine religion only disappears from the individual human mind, not from all people. True religion is never dying whenever injustice and inequality persist, and since they will always persist there is always a return to religion. Human beings suffer only in relative terms, not absolute. If everyone was equally as miserable no one would care. (That overstates things a bit, but not much.) The tragedy of Domenico is his conservatism, by looking to the past he bars imagination of progress to a better future for all people. but Tarkovsky allows deeper spirituality to shine through (almost as if anticipating our contemporary ecological crises) the message of "returning" to a simpler way of life is a message that will always be good, the "return" is spiritual, not material, but the spiritual outlook on life is what motivates materially improved social conditions. (Do not read further if you are easily triggered by opinionated hermeneutics.) I will just add for all other people of the world of faith, that Christianity is not the be all and end all of religion. That sort of thinking is precisely what corrupts the outward practices of a once valid world religion. Muslims suffer the same degradation in their concept Muhammad was the "seal of the prophets" which only means the end of one Great cycle (the "Adamic Cycle"), not the end for all time. I refer of course to the putative Baháʼí cycle that began in 1844. While mine is only an opinion, this is worth looking into, Tarkovsky was not aware of the movement.
Hey Bijou, I thank you deeply for your engagement with this meditation and for providing us with your thoughts, which I must say, are quite substantial and worth pondering upon, and I certainly am not the kind of person to be triggered by anything really. I definitely agree with your points on conservatism and religion, and it seems to me that Tarkovsky adresses these directly in many of his films, hence why so many rigid and old-fashioned ideas and characters are confronted with life-changing challenges, and hence the digressions into Taoism, Buddhism, and a pervading Eastern religious aura that peppers other works if his. Later on this series on Nostalghia, I mention Sufism and other potential religious connections, perhaps you'll be interested in listening to that to. Cheers!
Vatak Segen In my opinion, the "mystical" aspect, let's say, of Tarkovsky's films, is only a limited facet of his work. He's never proselytizing nor are his films manifestly religious, actually in them at no point is Christianity affirmed as real beyond doubt, despite the basis of faith being regularly inspected and not disregarding its historical influence. I would rather look at his films as encompassing descriptions of the world and its mysteries, which naturally include unanswered questions. I believe you will benefit from watching them, as they illustrate humanity, regardless of being religious or not, and the questions put forward by poetry and philosophy since time immemorial. In Part 2 of this series I will talk about the three main themes of this film, none of which is faith, for example. It's coming sometime tomorrow so stay tuned.
It is something which other people have complained before, but I personally find no issue with his adamantine commitment to the pensive and thoughtful nature of his works, even if completely bereft of humour. If I want laughter, I will get it form Tati, Chaplin, Fellini, Shengelaia, etc.
@@Johnconno Fair enough, my friend. I've come across multiple people pointing that out in a negative manner, but it always felt to me as a rather odd criticism. Now that I think of it again, I remember laughing on Andrei Rublev's scene with the village fool/jester. I wonder if that counts?
I wouldn't call this an introduction to a video series about "Nostalghia," as much as it's a haphazard collage of random facts about the movie. Sorry. I'll still watch the rest of the series though, since I loved the movie, and hopefully the other videos will be more lucid.
Yes, you're probably right about that, this is nothing more than the collected ramblings of a passionate spectator entranced by the movie's self-sustaining spirit and in that sense my video series are absolutely unnecessary and disposable. Hopefully you'll find something worthwhile that will aid your connection with the work on the other parts but in the end I believe you are right in declaring this effort wholly superfluous. All the best, my friend.
My friend, it's unfortunate you have found my essay verbose or obscure, as I strive to make my video essays accessible, albeit assumedly using poetic or lyrical phrasing that would echoe Tarkovsky's images and mood. Oddly enough, I've had no other such complaints from other viewers, but naturally it is impossible to please everyone. The internet contains a large expanse and wealth of content, I'm sure you will find other people that will better appeal to your taste. Cheers and I wish you all the best.
I never understand tarkovsky, everytime I first finished one of his movies I felt extremly confused about what I saw and about what tarkovsky wanted to say. But what I know is that every of his films has some aestetic power that makes all of his shots so incredible. I have a strange fascination while watching that makes me stay attached to the screen until the last second even without really understanding everything.
That's the magic of Tarkovsky, he thoroughly understood the potential of cinema in all its aspects, especially from an aesthetic standpoint. If you have the means, try to acquire and read his book "Sculpting in Time", it will give you a clear picture of the machinations and an uderstanding of the power within his works. Cheers!
@@PlanSéquenceFilmArt thank you for the recomendation, I'll add it to the "to read" list!
Yes, even our own minds are a mystery to ourselves. How much more another's!
I recommend watching his films in chronological order.. i feel that doing so has helped me understand him better!
I've been watching tarkovski repeatedly since the late 80s, his films never dissapoint if you're looking for something philosophical, mystical, poetic, beautiful, and dreamlike. He's like the opposite of Hollywood, for me Tarkovski's films are the closest thing to cinematic works of art there is .
Thanks for this, my favourite was always The Sacrifice, but I also love Nostalgia, stalker and mirror. °•●○☆♡
Glad to meet another fellow Tarkovsky fan, Hugh! I find Tarkovsky to be a balm for this hectic, shallow and often ugly world. Like you said, his films are riddled with beauty, they are contemplative and expressive, welcoming and profound, sensitive and ecstatic, lyrical and humane, hence why they appeal to me so much too. All the best, my friend!
Great analysis of the greatest director and one of the greatest films!
Thank you DER COMICMAN. Tarkovsky is certainly one of my favourite directors, if not the one I revere the most. And Nostalghia is one of his finest gems.
This is my 3rd Tarkovsky film I've seen, just now. I appreciate this video essay helping me understand it!
Hi Jamie, glad you found it helpful! Make sure to check the other parts to get a more complete picture of how the film works and what's it about. Cheers.
Most well written UA-cam video ever.
Thank you genkishooto, that's quite a compliment. I'm sure there are other better written UA-cam videos and essays, especially because I'm not a native English speaker, but if you enjoyed this analysis, I can only humbly express my satisfaction. Thanks for stopping by and for your praise, cheers!
Bro, please use simpler english lol... I would need a seperate video to just understand your explaination of this movie
You are an amazing presenter as well. The way you gave us the background music was low key amazing ngl.
Hey Jeswin, thank you so much, I'm really glad you appreciated this presentation. It's a lot of work setting up these videos, so getting positive feedback is incredibly rewarding. Cheers!
Water is a symbol of life and purification, fire is a symbol of "light of wisdom"; See what they did to the lake they soaked in, the lake drained, the bottom filled with moss and debris, there were coins - greed and fame, wine bottle - ignorance, bicycle - old culture; or a scene of the dilapidated old town that Andrei had visited, the floor submerged in water, a statue of an angel covered in seaweed, a cathedral without a roof. The old town is located in the high rock but abandoned, the new town was moved down the hill, this is also meaningful.
What did man do with fire? That so-called civilization gave Domenico the fuel tank and encouraged him to set himself on fire, and when he called for help they stood there watching, what he said, did they understand? nothing difficult to understand, he said they listened, they put up banners and banners in support, but they encouraged him to look to death and then stand there and watch him die, it was the "light wisdom "that the human world in the present is pursuing, the" light "used to commit suicide; meanwhile they prevented him from walking through the lake and thinking that it was crazy and dangerous, it was futile! If that place - the square had water, Domenico would not have burned to death.
go to my web site chi-blog(.)com, you will have answers about Andrei Tarkovsky movies
You have some interesting interpretations there, it's always interesting to find how different people perceive the same images. Thanks for the interest and stay tuned for part 4.
Not quite so. Whilst looking at the elements in general, you can perceive them however you like and according to your culture. But when conveyed with specific direction, they will no longer be symbols at all. Of course, provided you are watching a good film.
Thank you for making this
You're very welcome, my friend. All the best to you.
Excellent depth of understanding Tarkovsky's personal vision expressed in cinema.
Thank you very much, kind sir. I'm overjoyed you have found this essay insightful.
Just got the 4K by Kino and now I want all.his films on 4K uHD. Looks incredible
Lucky man, wish I had that version too! And trust me, his filmography is truly worth having all in 4K.
I just found your channel and loved this Nostalghia analysis. Definitely going to have a look at your other videos. I'm fond of Tarkovskj's and Bergman's films. Keep going, great work:)
Hi Rebecca, that's great to hear, glad you've enjoyed it. Make sure to check the in-depth analysis on Zerkalo, which is currently undergoing, as well as some of the essays on Bergman's themes. Cheers.
Thank you for your work on this channel. I admire and appreciate it.
Thank you, dear TP Grammar. I'm truly glad you've appreciated the effort and content found in here. Cheers!
@@PlanSéquenceFilmArtI intend to use some of your opening statements and “introduction sections” in my classroom, as models for how analysis can be effectively and respectfully done. (Also, have you ever watched Twin Peaks or other David Lynch works?) Thanks again
@@TPgrammar I'm honoured you have deemed my content or some of its structure worthy of being used as an example in your classes. I have seen quite a few David Lynch films (Eraserhead, Mulholland Drive, Blue Velvet, Lost Highway, etc ), although I'm afraid I am still not yet acquainted with his Twin Peaks works. All the best.
thank you for exploring new dimensions to this film and explaining some of the beyond comprehension theories, this definitely broadened my horizon
You are very welcome, Samko. Glad the essay has stimulated your mind. Cheers.
This is amazing - thank you so much!
Glad you appreciate it, my friend. Cheers.
Thank you for starting this channel, I'm so glad that I found it! :) Subscribed with pleasure
Thank you very much Anastasia. Glad you find the chanel informative. And thank you for sharing beautiful music interpreted by you!
Excellent work, my hat's off to you.
Cheers!
I cannot believe that I share the same exact answer, for the closest film of his that has the greatest affection!
Thank you very much for this video, you set many questions through tarkovsky's work. Greetings from Greece.
Thank you, for the appreciation. The final Part 4 , coming in a couple of weeks, features some comparisons with similar aspects in Angelopoulos films, perhaps you'll be interested as well.
@@PlanSéquenceFilmArt Of course it would be very interesting my friend.
I study in a Drama School here in Greece and we are assigned of seeing of seeing and analyzing fistrly Nostalghia and secondly Offret, our professor suggested before seeing Offret reading Dostoyesky's masterpiece The idiot. Many people have seen your videos and have been benefited from them.
Also i would like to say to things.. When i saw the film a thought two things: first i thought of Persona (Bergman) because he was on of the first director to use the medium of film for other purposes except of entertainment, and secondly when i saw the crazy caracter i thought of Diogenis in Ancient Greece, who as i know from school years, he was standing in front of statues and asking for money in Ancient Greece and others asked him what he was doing, he said i am exercising in failure. So afterwards when i saw your video and you mentioned this two things i was really content
@@thanasoni3519 It's great that multiple people have benefitted from watching these videos, I'm really happy for them. And indeed, Bergman was a great influence on Tarkovsky, as one of his favourite directors, and he is quickly mentioned again on Part 4, while the simultaneously eccentric and wise nature of Diogenis is definitely present in Domenico, as a representation of the holy foolishness (Διά Χριστόν σαλότητα), that is such a significant cultural aspect in Russia (юродивый) and present in many of Dostoyevsky's novels, Brothers Karamazov, The Possessed and especially in The Idiot, through Prince Myshkin. Your professor's recommendations are surely very appropriate and meaningful, I can imagine you'll be learning quite a lot from him.
Hey Thanasoni, I just recently remembered you, as I uploaded the first part of an in-depth analysis of Greek master Theo Angelopoulos' Landscape in the Mist. Perhaps it will be interesting to you. Anyway, hope you are doing alright. Cheers!
Phenomenal video, highly intelligent and articulate narrative
Thank you very much for your words, Chema R. Glad you have found the essay stimulating.
Thank you for making this. This is a brilliant analysis of what I think is Tarkovsky's best film. It seems that for the first time, everything came together. This is saying alot as The Mirror and Stalker are also masterpiece works.
Hey Matt, you are very welcome, I'm just glad you have found these series of essays useful. After watching it more than two handfuls of times, like you, I do also think Nostalghia ranks at the same level of Stalker and Mirror. It's Tarkovsky at its pinnacle, a representative work of his most intellectually mature level. Thank you again for the appreciation.
@@PlanSéquenceFilmArt I am not a big believer in rankings because it's art and it strikes emotion in everyone differently. It seems he had to find The Mirror in the edit and he shot Stalker 3 times, which I think speaks to his insane perfectionism. Maybe I am romanticizing it, but being out from under the specter of Soviet control in Nostalghia I see a film made by a clear headed and unafraid master artist who finally achieved a singular vision.
@@mattcalt Me neither, the usage of the word ranking in my previous comment pertains merely to the category where I would find the movie when considering how it affected me on an emotional level, which to me would be hard to detach from Mirror and Stalker, since like you I see them all as masterpieces. Nevertheless, I do believe your reasoning to make sense and that specific context is one of the aspects I aimed to highlight during these series as useful to comprehend the work. Thanks again for your engagement with this. Cheers.
@@PlanSéquenceFilmArt what are your thoughts on Andrei Rublev (Passion of Andrei)? I am working on this theory that perhaps the Prologue, 8 chapters and Epilogue are somehow related to the 10 Commandments. I haven’t seen any analysis that points in that direction. Maybe I am wrong and out if my mind. The Foundry scene has to be among the most epically under discussed scenes in cinema.
@@mattcalt I didn't have the chance to watch Andrei Rublev as much as I did his later films, though from what I can recall, it is nonetheless an extraordinary work. For me, the foundry scene is representative of the triumph of faith, to believe in something that lies within us, an imanent essence bequeathed and shared through life, regardless of the abstract conception attributed by mankind. It is a breathtaking and stirring scene that certainly belongs to the pantheon of filmmaking history. As for the 10 commandments inspiration, I haven't noticed a connection, but it is a theory worth meditating upon and one which I will consider in future viewings.
Thank you sir for this great analysis. I am a devotee of both Tarkovsky and Kubrick.Can you please do an understanding session of Tarkovsky's The Mirror? I will be highly obliged if you do so. Once again thank you very much sir. Waiting for more explanations of the films of Sir Andrei Tarkovsky.
Thank you for your words Willhem Crool. I definitely intend to do an analysis on The Mirror as well, but first I still have to finish the full analysis on Nostalghia, which will require at least one additional video. Stay tuned for new uploads.
Hi Willhem, don't know if you noticed but I recently uploaded the first part of an in-depth analysis of The Mirror. Have a look at it if you'd like. Cheers.
That was so great, thank you!
Glad you have enjoyed it, Yannick. Cheers!
hi, i saw the movie last night for the first time and by searching the internet, i discovered your video. Very interesting. thank you. Just a clarification, the man in the church is not a priest, but a sacristan, that is, a custodian, layman, of the church.
Hey Antaniper12, thank you for the words and you're absolutely right, it's a sacristan indeed and not a priest. Cheers!
Great one..Want more and diverse reviews..
Al Asif Thanks! There's another review coming up either later today or tomorrow. Stay tuned.
amazing analysis. what is the music in background? it is too good
Thank you very much, my friend. The artist is Blear Moon and I've put the link to his bandcamp on the credits at the end of the video. Cheers!
Unfortunately all the themes and metaphors went right pass me with this film. Which is strange as I liked the others I have seen so far (Ivan's Childhood, Andrei Rublev, Solaris, The Mirror and Stalker). I found his other works more accessible to newcomers and foreign film watchers. And this is the first time I had to go on YT to find an explanation for the meaning and that is why I am here. So I hope I will understand your explanation of the film. I still have The Sacrifice in my collection to watch and I am curious how his last film will turn out.
Hey zaltmanbleroze, you are quite right, as I mention in the video, Nostalghia can be rather opaque at times and is definitely not one of the easiest of the Tarkovsky films, but if you delve deep into it, the meaning emerges and the effort becomes very rewarding. I envy you, you still have The Sacrifice to watch, I wish I could watch it for the first time again, it has a spellbinding quality to it, one of Takrovsky's finest. Cheers!
After watching your Part 1 review of Nostalghia, I watched the movie. I will post my take on it
here with the caveat that I no doubt missed a lot upon one viewing, and may have dozed a bit
intermittently due to strabismus in left eye -- strain causes narcolepsy. So I could be wrong --
goes without saying. I am trying to learn from Tarkovsky. His style if not technique as well,
are paradoxical to Hollywood. By that I mean he goes against the doxology of moviemaking
as commercial activity and entertainment -- neither of which particularly interests Tarkovsky.
Posted separately if I can manage it. Unless it won't post for You Tube algorythms, as I already
posted on site where I viewed the movie.
When things turn to crises, to resolve the problem we must see where things went off the
rails. Return to the foundations to reexamine if that is solid, then rebuild having learned to
avoid the mis-takings that led down the path to disaster -- or in keeping with the building
metaphor -- to the bad design or poor craftsmanship or materials not fit for purpose . . .
This is what Domenico was more than alluding to in his 'man on horseback' speech before
he alights himself and Beethoven's Ode to Joy is chorused, creating drama in counterpoint.
A court jester for the public, seeming crazy to others while telling his truths.
A poet and professor decades past told me that all stories could be generalized under a
few original tales. He said Hamlet was one, Don Quixote another, I forget the rest but
could suggest a few myself. Voltaire's Candide for one. This movie Nostalghia is the
Don Quixote story retold, although there is little comedic in the drama, rather tragedy.
Well there may be comedy, but not portrayed as such but left up to the audience to
smile at internally, like the scene of too Catholic Italian women imploring the virgin for
conception. There's humor in that but veiled. As I understood the film, it was about
Tarkovsky's own displacement like a refugee from beloved childhood in Russia, which
was evident in Mirror. Hence the name Nostalghia. I was able to follow the story more
easily than say, Mirror, by now knowing that the black and white scenes are dreaming.
But as with Quixote, Tarkovsky was a paradox between the existential childhood of
Russia and the idealistic being of thoughts about cinema and how to portray life.
Or so I think.
Hamlet, Don Quixote, maybe Homer's Odyssey was another, though that also
a journey like Quixote. Well anyhow -- would make for a good essay question
to World Lit students. If all literature was generalized or reduced to archetypical
tales, what works would be the originals?
@@rockyfjord3753 I believe you are quite correct, the themes you mentioned of reassessing established norms and conventions (leading back to Descarte's scepticism as mentioned by you in another post), the role and purpose of the perceived madman (which nevertheless remains wise from a perspective), Tarkovsky's emotional displacement amidst the Western and Catholic culture, are all address in the later parts with more or less detail. Nostalghia in many ways can be considered an unofficial companion of Mirror, which shall be discussed in more detail in a future video of the Mirror's series. Thanks for the interest once again.
This is great example of how the quality of a film, and its perception can be at odds with each other. As it was an early International co-production (primarily between Italy and USSR) it was received with a lot of scepticism. At the time, non-hollywood cinema was deemed important as 'culture vessels', so this obviously was going to be a corruption of that concept. They are kind of right in that sense. But corruption is one of the main themes of the film anyway, so its appropriate. Each culture tempts and torments the other with aesthetics, material worth, concepts of freedom and expression and spiritual purpose. Each culture reveals significant faults in the other. It a much more modern concept than I think people were ready for at the time (especially coming out of the cold war). It also didn't help that personally T. is a bit of a bloviated git. He was correct that his film was the best, but wow, was he an ass about it!
I agree with much of what you say, but my goodness did you give me a great chuckle with the "bloviated git" comment! Now that's a delightfully sophisticated jab. I think I'll remember that for a long time. Thanks for your input and thoughts also. Cheers.
@10:50 it is a good meditation, but genuine religion only disappears from the individual human mind, not from all people. True religion is never dying whenever injustice and inequality persist, and since they will always persist there is always a return to religion. Human beings suffer only in relative terms, not absolute. If everyone was equally as miserable no one would care. (That overstates things a bit, but not much.) The tragedy of Domenico is his conservatism, by looking to the past he bars imagination of progress to a better future for all people. but Tarkovsky allows deeper spirituality to shine through (almost as if anticipating our contemporary ecological crises) the message of "returning" to a simpler way of life is a message that will always be good, the "return" is spiritual, not material, but the spiritual outlook on life is what motivates materially improved social conditions.
(Do not read further if you are easily triggered by opinionated hermeneutics.)
I will just add for all other people of the world of faith, that Christianity is not the be all and end all of religion. That sort of thinking is precisely what corrupts the outward practices of a once valid world religion. Muslims suffer the same degradation in their concept Muhammad was the "seal of the prophets" which only means the end of one Great cycle (the "Adamic Cycle"), not the end for all time. I refer of course to the putative Baháʼí cycle that began in 1844. While mine is only an opinion, this is worth looking into, Tarkovsky was not aware of the movement.
Hey Bijou, I thank you deeply for your engagement with this meditation and for providing us with your thoughts, which I must say, are quite substantial and worth pondering upon, and I certainly am not the kind of person to be triggered by anything really. I definitely agree with your points on conservatism and religion, and it seems to me that Tarkovsky adresses these directly in many of his films, hence why so many rigid and old-fashioned ideas and characters are confronted with life-changing challenges, and hence the digressions into Taoism, Buddhism, and a pervading Eastern religious aura that peppers other works if his. Later on this series on Nostalghia, I mention Sufism and other potential religious connections, perhaps you'll be interested in listening to that to. Cheers!
Tarkovsky and bresson🔥🔥
Two great masters of cinema.
Is there a part 2?
Hi John, thanks for the interest! I'm currently editing part 2, should be ready to publish by the end of next week.
Part 2 released two sweeks ago. Have a look at it if you like, over here: ua-cam.com/video/jLacU801swg/v-deo.html
tarkovsky's 8 1/2
Perhaps in a sense. It's certainly a profound, personal meditation on his own life and thought.
As an atheist, I find it hard to connect with Tarkovskys Movies. I have only seen this and 'the sacrifice' yet though.
Vatak Segen In my opinion, the "mystical" aspect, let's say, of Tarkovsky's films, is only a limited facet of his work. He's never proselytizing nor are his films manifestly religious, actually in them at no point is Christianity affirmed as real beyond doubt, despite the basis of faith being regularly inspected and not disregarding its historical influence. I would rather look at his films as encompassing descriptions of the world and its mysteries, which naturally include unanswered questions. I believe you will benefit from watching them, as they illustrate humanity, regardless of being religious or not, and the questions put forward by poetry and philosophy since time immemorial. In Part 2 of this series I will talk about the three main themes of this film, none of which is faith, for example. It's coming sometime tomorrow so stay tuned.
It's art
As an atheist, I adored Nostalghia, I find it hard to believe Tarkovsky is not an atheist, so your comment makes little ense to me.
I can't recall a single humourous scene in any of Tarkovskys films.
It is something which other people have complained before, but I personally find no issue with his adamantine commitment to the pensive and thoughtful nature of his works, even if completely bereft of humour. If I want laughter, I will get it form Tati, Chaplin, Fellini, Shengelaia, etc.
It wasn't a criticism, it had never occurred to me before.
@@Johnconno Fair enough, my friend. I've come across multiple people pointing that out in a negative manner, but it always felt to me as a rather odd criticism. Now that I think of it again, I remember laughing on Andrei Rublev's scene with the village fool/jester. I wonder if that counts?
are you portuguese?
Sou pois, caríssimo!
dava para ver pelo sotaque, grande video mano @@PlanSéquenceFilmArt
@@pmrmatos Sempre difícil disfarçar, mas não há como fugir, haha! Obrigado companheiro, um abraço!
I wouldn't call this an introduction to a video series about "Nostalghia," as much as it's a haphazard collage of random facts about the movie. Sorry. I'll still watch the rest of the series though, since I loved the movie, and hopefully the other videos will be more lucid.
Yes, you're probably right about that, this is nothing more than the collected ramblings of a passionate spectator entranced by the movie's self-sustaining spirit and in that sense my video series are absolutely unnecessary and disposable. Hopefully you'll find something worthwhile that will aid your connection with the work on the other parts but in the end I believe you are right in declaring this effort wholly superfluous. All the best, my friend.
It's like this guy tried really hard to use a Thesaurus as often as possible in each sentence. A bit ridiculous.
My friend, it's unfortunate you have found my essay verbose or obscure, as I strive to make my video essays accessible, albeit assumedly using poetic or lyrical phrasing that would echoe Tarkovsky's images and mood. Oddly enough, I've had no other such complaints from other viewers, but naturally it is impossible to please everyone. The internet contains a large expanse and wealth of content, I'm sure you will find other people that will better appeal to your taste. Cheers and I wish you all the best.
I thought it was shit
@@Aroncsik Why did you dislike it so much, Grujber?
It insists upon itself
@@Aroncsik Could you ellaborate on that?
I couldn't even finish it