![]() Floyd is shown the images of the “deliberately buried” alien monolith and shows only pro forma interest. Hence the moment on the rocket bus, headed out to TMA‑1, when Dr. In 1968, that answer simply wasn’t available.) And I wasn’t old enough to understand that Kubrick’s adoration of technology was tempered by his view that humankind would necessarily take these futuristic innovations for granted. Today, the answer is generic: they did it with computers. (Aside: in the age of CGI, no one is capable of appreciating analog effects and the simple question - “How did they do that?” - they raise. I was 12 and riveted.Īt the time, there’s no question the special effects played a huge role in captivating me. I saw it in the theater when it was released early in 1968. Tarkovsky’s Advice to Young Filmmakers: Sacrifice Yourself for CinemaĪ Poet in Cinema: Andrei Tarkovsky Reveals the Director’s Deep Thoughts on Filmmaking and Lifeĩ3 Films Beloved by Stanley Kubrick: From Fritz Lang’s Metropolis (1927) to Ron Shelton’s White Men Can’t Jump (1992)Ĭolin Marshall writes on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, and the video series The City in Cinema. Follow him on Twitter at on Facebook.Ģ001 and I go back a long way. The Masterful Polaroid Pictures Taken by Filmmaker Andrei Tarkovsky Watch Stalker, Andrei Tarkovsky’s Mind-Bending Masterpiece Free Online Watch Solaris (1972), Andrei Tarkovsky’s Haunting Vision of the FutureĪndrei Tarkovsky’s Solaris Shot by Shot: A 22-Minute Breakdown of the Director’s Filmmaking Now that’s what I call a triple feature. ( Find Tarkovsky’s films free online here.) And maybe I need to throw Vertigo into the evening as well. Maybe I just need to watch both 2001 and Solaris yet again, one after another, in order to better compare them. For a true work of art, the fake must be eliminated.”Ĭritic Philip Lopate writes that “the media played up the cold-war angle of the Soviet director’s determination to make an ‘anti- 2001,’ and certainly Tarkovsky used more intensely individual characters and a more passionate human drama at the center than Kubrick.” And the films do have similarities, from their “leisurely, languid” narratives to their “widescreen mise-en-scène approach that draws on superior art direction” to their “air of mystery that invites countless explanations.” But Lopate argues that the themes of Solaris resemble those of 2001 less than those of Hitchcock’s Vertigo: “the inability of the male to protect the female, the multiple disguises or ‘resurrections’ of the loved one, the inevitability of repeating past mistakes.”Īs a lover of both Kubrick and Tarkovsky’s work, I can hardly take sides. “Interestingly enough, Kubrick apparently really liked Solaris and I’m sure he found it amusing that it was marketed as ‘the Russian answer to 2001.’ ” Jonathan Crow recently quoted Tarkovsky as saying: “ 2001: A Space Odyssey is phony on many points, even for specialists. The appreciation, alas, wasn’t mutual. “Tarkovsky supposedly made Solaris in an attempt to one-up Kubrick after he had seen 2001 (which he referred to as cold and sterile),” writes Joshua Warren at. Just four years before it, Kubrick had, of course, made his own psychologically and visually-intense cinematic voyage out from Earth into the great beyond, 2001: A Space Odyssey. You expect one auteur to appreciate the work of another - “game recognize game,” to use the modern parlance - but the selection of Solaris makes special sense. Yesterday we ran a list of 93 films beloved by Stanley Kubrick, which includes two by Andrei Tarkovsky: 1972’s Solaris and 1986’s The Sacrifice.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |