as for brothers... my own impression - based on their solo writings - is that they both were quite clever, but Arkady was far much softer and less hopeless conflict generating author (and maybe person too), more emotional, while Boris (who is still alive) was much more "desperate" towards the human nature, less forgiving and more logical and "cold" compared to his elder brother.
Therefore I feel like Tarkovsky should be closer to Boris than to Arkady...
well, that makes sense from what i have read - but of course Tarkovsky was writing many years ago and both Arkady and Boris no doubt developed a lot through the years, certainly City is quite a shift for Boris (if i am remembering right?). I hope to read more by hem quite soon.
Tarkovsky's diaries are very compelling, but not an 'easy' read.
You are right (if you mean City beoynd the River/ grad obrechenny/)- it has a lot of Boris' point of view, as well as "03", 'Second invasion from Mars" and maybe "A Snail on the Slope". Boris' solo "Searching for destination" completed in few years after Arkady's death is so dull and hopeless that I can not digest it at all.
do you think Tarkovsky defined himself against God? really? and Bergman? i thought Bergman had very complicated relations to God, all time (remember his God-spider?). So it's very intersting seaching. Thank you. This problem is very close me, i mean God's silens, sometimes i think God is only obsever like some sientist-naturalist observes wild world, you know, and doesnt interfere in natural selection.
yes, i think both men had much in common - the exploration, a spiritual search. Tarkovsky's zone has something in common with the city in Bergman's The Silence, i think.
And just as Bergman could dread the Spider God (it's in Persona also) so too Tarkovsky and the sense of dread within the Wishing Room... and the sheer alien-ness of the Solaris entity.
Just as the spider may come from the woodwork for poor Karin, so the dreadful phone can ring in Stalker and without warning or logic.
Ultimately i would say that Tarkovsky and Bergman despite their ambivalence (expressed through lost and wandering and/or damaged characters) are ultimately looking for contact and healing. Tarkovsky sees this is being paramount for humanity as much as any individual.
Of course the works contain more than this - i don't intend a reductionist reading. And the saddest part of Tarkovsky's early death is that his dialog was cut short - Bergman was privileged to be able to use film as a means to wail, celebrate, and contemplate even into old age.
I'd say that Tarkovsky's Stalker is the story told by another witness... Roughly speaking, in the Strugatsky brothers' prose there is much from Hemingway stoutness of life (even Redrick's pages).
Tarkovsky wraped the story in pseudo-documentary cover (scenes with Alice). Sometime it is seemed that story is told by Writer, sometimes by Professor, sometime by Stalker. But a true witness is above all ;) anyway, I see such concept :)
//stoutness of life (even Redrick's pages).// yes, well put - the Brothers and their attitudes are much more robust and pragmatic than Tarkovsky and the protagonist of his film.
//that story is told by Writer, sometimes by Professor, sometime by Stalker.// yes a trinity of voices, each a part of Tarkovsky himself i feel.
Comments 25
Therefore I feel like Tarkovsky should be closer to Boris than to Arkady...
Reply
I hope to read more by hem quite soon.
Tarkovsky's diaries are very compelling, but not an 'easy' read.
Reply
Reply
Reply
(The comment has been removed)
Reply
is his diaries translated - into English?
Reply
and yes, the diaries are in English, a very nice edition. :))
Reply
Reply
Reply
And just as Bergman could dread the Spider God (it's in Persona also) so too Tarkovsky and the sense of dread within the Wishing Room... and the sheer alien-ness of the Solaris entity.
Just as the spider may come from the woodwork for poor Karin, so the dreadful phone can ring in Stalker and without warning or logic.
Ultimately i would say that Tarkovsky and Bergman despite their ambivalence (expressed through lost and wandering and/or damaged characters) are ultimately looking for contact and healing. Tarkovsky sees this is being paramount for humanity as much as any individual.
Of course the works contain more than this - i don't intend a reductionist reading. And the saddest part of Tarkovsky's early death is that his dialog was cut short - Bergman was privileged to be able to use film as a means to wail, celebrate, and contemplate even into old age.
Reply
Reply
Roughly speaking, in the Strugatsky brothers' prose there is much from Hemingway stoutness of life (even Redrick's pages).
Tarkovsky wraped the story in pseudo-documentary cover (scenes with Alice). Sometime it is seemed that story is told by Writer, sometimes by Professor, sometime by Stalker. But a true witness is above all ;)
anyway, I see such concept :)
Reply
yes, well put - the Brothers and their attitudes are much more robust and pragmatic than Tarkovsky and the protagonist of his film.
//that story is told by Writer, sometimes by Professor, sometime by Stalker.// yes a trinity of voices, each a part of Tarkovsky himself i feel.
Reply
:))
actually, Tarkovsky could use any other chapter/part (and characters) from the novel.
Reply
Leave a comment