It’s nearly perfect and utterly profound, a masterpiece — Larisa Shepitko made only four theatrical features yet this Soviet movie about the Great Patriotic War earns her a firm place in film history. Moral betrayals under stress, in the face of profound evil… it’s the human condition. Astonishing for a Mosfilm production of the time, the film equates nationalistic sacrifice with Christian martyrdom. Criterion’s extras tell the impressive story behind the making of this major Soviet production.
The Ascent
Blu-ray
The Criterion Collection 1063
1977 / B&w / 1:37 Academy / 109 min. / Voskhozhdenie / available through The Criterion Collection / Street Date January 26, 2021 / 39.95
Starring: Boris Plotnikov, Vladimir Gostyukhin, Sergey Yakovlev, Lyudmila Polyakova, Viktoriya Goldentul, Anatoliy Solonitsyn, Mariya Vinogradova, Nikolai Sektimenko, Sergei Kanishchev.
Cinematography: Vladimir Chukhnov, Pavel Lebeshev
Film Editor: Valeriya Belova
Original Music: A. Shnitke
Written by Yuri Klepikov, Larisa Shepitko from a novel by Vasiliy Bykov
Directed by Larisa Shepitko
A few months...
The Ascent
Blu-ray
The Criterion Collection 1063
1977 / B&w / 1:37 Academy / 109 min. / Voskhozhdenie / available through The Criterion Collection / Street Date January 26, 2021 / 39.95
Starring: Boris Plotnikov, Vladimir Gostyukhin, Sergey Yakovlev, Lyudmila Polyakova, Viktoriya Goldentul, Anatoliy Solonitsyn, Mariya Vinogradova, Nikolai Sektimenko, Sergei Kanishchev.
Cinematography: Vladimir Chukhnov, Pavel Lebeshev
Film Editor: Valeriya Belova
Original Music: A. Shnitke
Written by Yuri Klepikov, Larisa Shepitko from a novel by Vasiliy Bykov
Directed by Larisa Shepitko
A few months...
- 2/27/2021
- by Glenn Erickson
- Trailers from Hell
"Through our sins, evil has assumed human form." Janus Films has debuted a new trailer for a restoration re-release of the acclaimed classic Andrei Rublev, the fourth film directed by Andrei Tarkovsky. It didn't open in America until 1973, despite premiering at the Cannes Film Festival in 1969. The film tells the story of a renowned icon painter, played by Anatoliy Solonitsyn, in medieval Russia, "one of Tarkovsky's most revered films, an arresting meditation on art, faith, and endurance." The Criterion Collection will be putting this out on DVD/Blu-ray in the fall, but before than the film will hit select theaters nationwide throughout late August and September. The director's preferred 185-minute cut will be shown in cinemas, for those who are dedicated fans and want to see this on the big screen - a rare opportunity for a work as profound as this. Here's the trailer (+ poster) for the restored re-release of Andrei Tarkovsky's Andrei Rublev,...
- 6/26/2018
- by Alex Billington
- firstshowing.net
Andrei Tarkovsky's Andrei Rublev Andrei Tarkovsky, Audrey Hepburn, Clara Bow Movies: Packard Campus May 2012 Schedule Friday, April 27 (7:30 p.m.) Solaris (Magna, 1972) An alien intelligence infiltrates a space mission. Directed by Andrei Tarkovsky. With Natalya Bondarchuk and Donatas Banionis. Sci-fi psychological drama. Black & White and color, 167 min. In Russian and German with English subtitles. Saturday, April 28 (7:30 p.m.) To Kill A Mockingbird (Universal, 1962) A Southern lawyer defends a black man wrongly accused of rape, and tries to explain the proceedings to his children. Directed by Robert Mulligan. With Gregory Peck, Mary Badham, Phillip Alford, Brock Peters and Robert Duvall. Drama. Black & white, 129 min. Selected for the National Film Registry in 1995. Thursday, May 3 (7:30 p.m.) The Little Giant (Warner Bros., 1933) A Chicago beer magnate about to lose his business with the repeal of Prohibition, moves to California and tries to join society's upper crust, but his gangster origins prove tough to shake.
- 4/21/2012
- by Andre Soares
- Alt Film Guide
The Russian film-maker's eerie sci-fi vision of a forsaken world uncannily echoes Japan's Fukushima nuclear plant today
The test of a great film is not its relevance to world events. La Belle et la Bête doesn't suffer for its lack of insight into Libyan mission creep; The Shining needs no message about the Portuguese bailout. But now and then one of cinema's true moments of genius is brought to mind by the nightly news – and so it's been recently with Stalker, Andrei Tarkovsky's unshakable science-fiction masterwork, a film that ever since the crippling of the Fukushima nuclear power plant has, for me, been a mournful companion to the crisis.
Because if the exact nature of this most beautifully cryptic of films will always be open to debate, it will also be forever linked with Chernobyl – Tarkovsky's 1979 vision of the eerie, depopulated "Zone" on at least one level an uncannily prophetic...
The test of a great film is not its relevance to world events. La Belle et la Bête doesn't suffer for its lack of insight into Libyan mission creep; The Shining needs no message about the Portuguese bailout. But now and then one of cinema's true moments of genius is brought to mind by the nightly news – and so it's been recently with Stalker, Andrei Tarkovsky's unshakable science-fiction masterwork, a film that ever since the crippling of the Fukushima nuclear power plant has, for me, been a mournful companion to the crisis.
Because if the exact nature of this most beautifully cryptic of films will always be open to debate, it will also be forever linked with Chernobyl – Tarkovsky's 1979 vision of the eerie, depopulated "Zone" on at least one level an uncannily prophetic...
- 4/8/2011
- by Danny Leigh
- The Guardian - Film News
By Michael Atkinson
The farther we get from it, the clearer it seems that the Age of the Waves . the '60s and '70s, roughly demarcated . was film culture's own belle époque, glowing with post-teen hoochie koo and experimental piss and vinegar and hard-won grit, wherever movie tickets were sold and film stock could be bought. From the Parisian vague team to Budapest to Buenos Aires to even Hollywood, wavism spread over the globe like a supercool, ultra-realist virus, and as the home video digitization of film history continues, it's become obvious that what we thought we knew about the New Waves barely scratches the nitrate. (In just the last two years, the discs have included previously unavailable, and little-seen, world-beaters by Godard, Marker, Teshigahara, Borowzcyk, Varda, Masumura, Rosi, Melville, Syberberg, Klein, and probably scads I missed.) A bewitching case in point: Larisa Shepitko, who was something like the...
The farther we get from it, the clearer it seems that the Age of the Waves . the '60s and '70s, roughly demarcated . was film culture's own belle époque, glowing with post-teen hoochie koo and experimental piss and vinegar and hard-won grit, wherever movie tickets were sold and film stock could be bought. From the Parisian vague team to Budapest to Buenos Aires to even Hollywood, wavism spread over the globe like a supercool, ultra-realist virus, and as the home video digitization of film history continues, it's become obvious that what we thought we knew about the New Waves barely scratches the nitrate. (In just the last two years, the discs have included previously unavailable, and little-seen, world-beaters by Godard, Marker, Teshigahara, Borowzcyk, Varda, Masumura, Rosi, Melville, Syberberg, Klein, and probably scads I missed.) A bewitching case in point: Larisa Shepitko, who was something like the...
- 8/12/2008
- by Michael Atkinson
- ifc.com
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