In Arkadiy and Boris Strugatsky's excellent novel "Roadside Picnic," which was the inspiration for this film, the perilous "Zone" where valuable but incomprehensible alien artifacts can be found becomes in affect a character all its own through the obsessive, ominous, and draining effect it has from afar on characters' lives.
In this film, the Zone is again a character all its own -- but not from afar. It is constantly, oppressively present, and its effect is such that it seems just as frightful and mesmerizing despite the fact that in the film we are never told exactly why it is dangerous and why it is attractive. For the film media, the the Strugatsky brothers essentially created an entirely new work sharing a couple of key concepts with their novel. It's as much as anything a more formless and still very philosophical meditation on themes of their previous work, and one that (perhaps with the influence of its celebrated director) is acutely aware of the different needs that the film medium has as opposed to prose fiction.
There are many people far more qualified than me to speak about just why Andrei Tarkovky's direction and camera work are as effective as they are. But they make this one of the most atmospheric films I havec ever seen. He has a very artful of making our views of things seems artless -- letting his camera remain still and wide for long periods of time so we can't escape the desolation of the landscape or cramped quality of the quarters. Characters move and interact within small spaces on screen, which makes for somehow more intense interaction.
"Intense" intense is also the word to describe the acting, which rises to highs of drama, that, in contrast to the stillness of their surroundings, only highlight the desperation of the situation. The orchestration of this drama against stretches of stillness and silence is really a masterful handling of suspense. And it allows the moving and thoughtful philosophical discussions that its characters have to be charged with tension the whole while.
"Stalker" manages to be that rare combination -- a deeply thoughtful mood piece. And it's done with high artistry in every aspect.
In this film, the Zone is again a character all its own -- but not from afar. It is constantly, oppressively present, and its effect is such that it seems just as frightful and mesmerizing despite the fact that in the film we are never told exactly why it is dangerous and why it is attractive. For the film media, the the Strugatsky brothers essentially created an entirely new work sharing a couple of key concepts with their novel. It's as much as anything a more formless and still very philosophical meditation on themes of their previous work, and one that (perhaps with the influence of its celebrated director) is acutely aware of the different needs that the film medium has as opposed to prose fiction.
There are many people far more qualified than me to speak about just why Andrei Tarkovky's direction and camera work are as effective as they are. But they make this one of the most atmospheric films I havec ever seen. He has a very artful of making our views of things seems artless -- letting his camera remain still and wide for long periods of time so we can't escape the desolation of the landscape or cramped quality of the quarters. Characters move and interact within small spaces on screen, which makes for somehow more intense interaction.
"Intense" intense is also the word to describe the acting, which rises to highs of drama, that, in contrast to the stillness of their surroundings, only highlight the desperation of the situation. The orchestration of this drama against stretches of stillness and silence is really a masterful handling of suspense. And it allows the moving and thoughtful philosophical discussions that its characters have to be charged with tension the whole while.
"Stalker" manages to be that rare combination -- a deeply thoughtful mood piece. And it's done with high artistry in every aspect.