Despite Tarkovsky's objections expressed in a letter to Alexey Romanov, the chairman of Goskino, the ministry demanded further cuts, and Tarkovsky trimmed the length to 186 minutes.[20]. It is first referenced in Solaris, made in 1972, by having an icon by Andrei Rublev being placed in the main character's room. Soon, a group of Tatars stops at the monastery while traveling through the region, much to the concern of Andrei and Kirill who have experienced their brutality first hand. The final scene crossfades from the icons and shows four horses standing by a river in thunder and rain. “Nobody has ever cut anything from Andrei Rublev. А. Сандлер. Foma, impatient and wanting to work, resigns and leaves Andrei's group to take up the offer of painting a smaller, less prestigious church. The cuts have in no way changed neither the subject matter nor what was for us important in the film. [32] It is next referenced by having a poster of the film being hung on a wall in Mirror, made in 1975.[33]. He is the first of several creative characters, representing the daring escapist, whose hopes are easily crushed. The film was further cut for commercial reasons upon its U.S. release through Columbia Pictures in 1973. Despite Tarkovsky's refusal to make further cuts, Andrei Rublev finally was released on December 24, 1971, in the 186-minute 1966 version. The final scene crossfades from the icons and shows four horses standing by a river in thunder and rain. [3] A version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize. Kirill then criticizes Andrei for allowing his God-given talent for painting to go to waste and pleads with him to resume his artistry, but receives no response. Correct runtime is 205 minutes. And I only cut certain overly long scenes. Although these issues with censorship obscured and truncated the film for many years following its release, the film was soon recognized by many western critics and film directors as a highly original and accomplished work. Tarkovsky and his second wife, Larisa Tarkovskaya, wrote letters to other influential personalities in support of the film's release, and Larisa Tarkovskaya even went with the film to Alexei Kosygin, then the Premier of the Soviet Union. Daniil refuses to accompany Andrei and reproaches him for accepting Theophanes’ offer without considering his fellows, but soon repents of his temper and tearfully wishes Andrei well when the younger monk comes to say goodbye to his friend. [27] Criterion's producer of the project stated that the video transfer was sourced from a film print that filmmaker Martin Scorsese had acquired while visiting Russia. The ministry's demands for cuts first resulted in a 190-minute version. Andrei leaves for Moscow with his young apprentice Foma (Mikhail Kononov). The balloon is tethered to the spire of a church next to a river, with a man named Yefim (Nikolay Glazkov) attempting to make the flight by use of a harness roped beneath the balloon. Paul Hillenbrand said: Amazon.com is listing the Blu-ray with a runtime of 185 minutes, not the original 205 minute version that is mentioned in the review. [35], In 2011, director Joanna Hogg listed it as a film that changed her life.[36]. Andrei Rublev (Russian: Андрей Рублёв, originally pronounced Rublyov) is a 1966 Soviet biographical historical drama film directed by Andrei Tarkovsky and co-written with Andrei Konchalovsky. Durata: 205 Minutes. Speed Cinema Presents: Andrei Rublev. 205 minutes [1] Tarkovsky final cut: 183 minutes [2] Country: Soviet Union: Language: Russian : Budget: 1.3 million rubles: Andrei Rublev (Russian: Андрей Рублёв, originally pronounced Rublyov) is a 1969 Soviet biographical historical drama film directed by Andrei Tarkovsky and co-written with Andrei Konchalovsky. In 1987, when Andrei Rublev was once again shown on Soviet TV, the epilogue was once again in black and white, despite the Soviet Union having completely transitioned to color TV. [25], In 1973, the film was shown on Soviet television in a 101-minute version that Tarkovsky did not authorize. Unfortunately for Tarkovsky and for us, Kruschev was deposed shortly after filming began, and the 205 minute version was not seen until twenty five years after its creation. After completion, the bell is hoisted into its tower and the Grand Prince and his entourage arrive for the inaugural ceremony as the bell is blessed by a priest. A woman named Marfa (Nelly Snegina), dressed only in a fur coat, approaches Andrei. Camping for the night on a riverbank, Andrei and Foma are collecting firewood for their traveling party when Andrei hears the distant sounds of celebration further upstream in the woods. A young woman, Durochka (Irma Raush), whose name identifies her as a holy fool, or Yurodivy, wanders in to take shelter from the rain and is upset by the sight of the paint on the wall. It is revealed that Boriska and the work crew know that if the bell fails to ring, the Grand Prince will have them all beheaded. Theophanes is portrayed as a complex character: an established artist, humanistic and God-fearing in his views yet somewhat cynical, regarding his art more as a craft and a chore in his disillusion with other people. The film was remade and re-edited from the 1966 film titled The Passion According to Andrei by Tarkovsky which was censored during the first decade of the Brezhnev era in the Soviet Union. In 1995, The Vatican placed Andrei Rublev on their list of 45 "great films". There is a quiet, agonizing tension among the crowd as the foreman slowly coaxes the bell's clapper back and forth, nudging it closer to the lip of the bell with each swing. The icons are shown in the following order: Enthroned Christ, Twelve Apostles, The Annunciation, Twelve Apostles, Jesus entering Jerusalem, Birth of Christ, Enthroned Christ, Transfiguration of Jesus, Resurrection of Lazarus, The Annunciation, Resurrection of Lazarus, Birth of Christ, Trinity, Archangel Michael, Paul the Apostle, The Redeemer. I made some cuts myself. He no longer paints and never speaks, and keeps Durochka with him as a fellow companion in silence. Another difference from the original version of the film was the inclusion of a short explanatory note at the beginning of the film, detailing the life of Andrei Rublev and the historical background. Andrei attempts to stop her from leaving, but she is delighted with the Tatar's gifts, and she rides away with the Tatars. The viewer doesn't even notice their absence. Most of these scenes took place during the raid of Vladimir, including one showing the blinding and the torture of a monk. For example, during the Tatar raid of Vladimir a cow is set on fire. [34], Also in 2010, the Toronto International Film Festival released its "Essential 100" list of films in which Andrei Rublev also placed No. (It is also overheard that the Grand Prince has already had his brother, the one who raided Vladimir, beheaded.). [14][15] The initial budget was 1.6 million Rubles, but it was cut several times to one million Rubles (In comparison, Sergei Bondarchuk's War and Peace had a budget of eight and half million Rubles). Andrei decides to give up painting and takes a vow of silence to atone for his killing of another man. The shortest known version has been truncated to 145 minutes. Goskino demanded cuts to the film, citing its length, negativity, violence, and nudity. Because of this, it was not released domestically in the officially atheist Soviet Union for years after it was completed, except for a single 1966 screening in Moscow. It is revealed that Boriska and the work crew know that if the bell fails to ring, the Grand Prince will have them all beheaded. The contract was signed in 1962 and the first treatment was approved in December 1963. Few characters are clearly identified, little actually happens, and what does happen isn’t necessarily in chronological order. Appearing here in Tarkovsky’s preferred shorter cut (reduced from 205 minutes), this is the version that was originally censored by Soviet authorities. The discussion on Andrei Rublev centered on the sociopolitical and historical, and not the artistic aspects of the film. 2018. The voices of the Grand Prince's children were provided by Klara Rumyanova. The scenes involving cruelty toward animals were largely simulated. The Tatars force their way into the barricaded church, now fully decorated with Andrei's paintings, where the majority of the citizens have taken refuge. Tarkovsky and his co-screenwriter Andrei Konchalovsky worked for more than two years on the script, studying medieval writings and chronicles and books on medieval history and art. In the aftermath only Andrei and Durochka are left alive in the church. A short while later at the Andronikov Monastery, a messenger arrives from Moscow to ask for assistance in decorating the cathedral, as arranged, but instead of Kirill, he propositions Andrei. Top comments. This section contains a Passion Play, or a reenactment of Christ's Crucifixion, on a snow-covered hillside which plays out as Andrei recounts the events of Christ's death and expresses his belief that the men who crucified him were obeying God's will and loved him. The Tatars show no mercy and massacre the people inside and burn all the painted wooden altarpieces. [4] In 1971, a censored version of the film was released in the Soviet Union. The Breszhnev-era censors first trimmed 15 minutes from it, then censors and marketers trimmed more. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions. I am convinced the latest version is the best, the most successful. [3] A version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize. In other words, we removed overly long scenes which had no significance. A short while later at the Andronikov Monastery, a messenger arrives from Moscow to ask for assistance in decorating the cathedral, as arranged, but instead of Kirill, he propositions Andrei. The three have just left the Andronikov Monastery, where they have lived for many years, heading to Moscow. They're listing the runtime for the director's preferred version that's on the first disc of the Blu-ray; the … In 1971 Andrei Rublev won the Critics Award of the French Syndicate of Cinema Critics, and in 1973 the Jussi Award for Best Foreign Film. Despite the cuts having originated with Goskino's demands, Tarkovsky ultimately endorsed the 186-minute cut of the film over the original 205-minute version: Nobody has ever cut anything from Andrei Rublev. Andrei Rublev was accused of being "anti-historical" in its failure to portray the context of its hero's life: the rapid development of large cities and the struggle against the Mongols. The men are initially dismissive, but soon agree, and Boriska is put in charge of the project. The icons are shown in the following order: Enthroned Christ, Twelve Apostles, The Annunciation, Twelve Apostles, Jesus entering Jerusalem, Birth of Christ, Enthroned Christ, Transfiguration of Jesus, Resurrection of Lazarus, The Annunciation, Resurrection of Lazarus, Birth of Christ, Trinity, Archangel Michael, Paul the Apostle, The Redeemer. Notable scenes that were cut from this version were the raid of the Tartars and the scene showing naked pagans. During the bell-making, the skomorokh (jester) from the first sequence makes a reappearance amongst the crowds who have come to watch the bell being raised up and, seeing Andrei, he threatens to kill him, mistaking him for Kirill, his denouncer of years past. Soviet officials accepted this invitation, but they only allowed the film to screen at the festival out of competition, and it was screened just once at 4 A.M. on the final day of the festival. In reality the cow had an asbestos-covered coat and was not physically harmed; however, one scene depicts the real death of a horse. Soviet officials tried to prevent the official release of the film in France and other countries, but were not successful as the French distributor had legally acquired the rights in 1969.[19]. The discussion on Andrei Rublev centered on the sociopolitical and historical, and not the artistic aspects of the film. The scenes involving cruelty toward animals were largely simulated. And this may even repel them." [11] Solonitsyn would continue to work with the director, appearing in Solaris, The Mirror, and Stalker, and in the title role of Tarkovsky's 1976 stage production of Hamlet in Moscow's Lenkom Theatre. The process of making the bell grows into a huge, expensive endeavour with many hundreds of workers and Boriska makes several risky decisions, guided only by his instincts; soon, even he doubts the project's prospective success. TIME (magazine) compared the movie unfavorably to Dr. Zhivago; those other New York reviewers who took note begged off explication, citing Rublev's apparent truncation. In the same monastery, refugees discuss the problems plaguing their respective home towns, and one man who appears starts telling, in a broken voice, of his escape from Vladimir. It’s a medieval epic (the version not censored runs 186 minutes), based on the life of the Russian monk and icon painter Andrei Rublev (Anatoli Solonitzine), who was born in either 1360 or 1370 and died in 1430. At the site, Boriska contradicts and challenges the instincts of the workers in choosing the location of the pit, the selection of the proper clay, the building of the mold, the firing of the furnaces and finally the hoisting of the bell. [16], Tarkovsky chose to shoot the main film in black and white and the epilogue, showing some of Rublev's icons, in color. Sergei (Vladimir Titov), a young apprentice who escaped the assault unharmed, reads a random section of the bible aloud, at Daniil's request, concerning women. After completion, the bell is hoisted into its tower and the Grand Prince and his entourage arrive for the inaugural ceremony as the bell is blessed by a priest. [27] Criterion's producer of the project stated that the video transfer was sourced from a film print that filmmaker Martin Scorsese had acquired while visiting Russia. Due to pressure by Soviet officials, the film could only be shown out of competition, and was thus not eligible for the Palme d'Or or the Grand Prix. [13], According to Johnson, filming did not begin until April 1965, one year after approval of the script, with J. Hoberman reporting a slightly earlier date of September 1964 for the start of filming in his film essay for the Criterion collection release of the film. While walking in the woods, Andrei and Foma have a conversation about Foma's flaws, and in particular lying. Before his death from cancer in 1982, Solonitsyn was also intended to play protagonist Andrei Gortchakov in Tarkovsky's 1983 Italian-Russian co-production Nostalghia,[12] and to star in a project titled The Witch which Tarkovsky would significantly alter into his final production, The Sacrifice. "[15], The film was ranked No. Andrei Rublev is divided into eight episodes, with a prologue and an epilogue only loosely related to the main film. [8] Tarkovsky did not intend the film to be a historical or a biographical film about Andrei Rublev. Instead, they come upon Boriska, who tells them that the area has been ravaged by a plague, and that his father, as well as all his family, is dead. At the critical moment the bell rings perfectly, and she smiles. In the aftermath only Andrei and Durochka are left alive in the church. 2018. [1], In the mid-1990s, Criterion Collection released the first-cut 205-minute version of Andrei Rublev on LaserDisc, which Criterion re-issued on DVD in 1999. Andrei (Anatoly Solonitsyn), Daniil (Nikolai Grinko) and Kirill (Ivan Lapikov) are wandering monks and religious icon painters, looking for work. He no longer paints and never speaks, and keeps Durochka with him as a fellow companion in silence. One reason for including this color final was, according to Tarkovsky, to give the viewer some rest and to allow him to detach himself from Rublev's life and to reflect. One reason for including this color final was, according to Tarkovsky, to give the viewer some rest and to allow him to detach himself from Rublev's life and to reflect. Andrei and Daniil are working on the decoration of a church in Vladimir. Andrei Rublev Criterion Collection Blu-ray: Criterion's two-disc edition includes both Tarkovsky's preferred 183-minute version of the film and The Passion According to Andrei, the original 205-minute theatrical version.. Soviet officials accepted this invitation, but they only allowed the film to screen at the festival out of competition, and it was screened just once at 4 A.M. on the final day of the festival. [1][19] After Tarkovsky completed this first version, it would be five years before the film was widely released in the Soviet Union. The Tatars force their way into the barricaded church, now fully decorated with Andrei's paintings, where the majority of the citizens have taken refuge. Kirill lacks talent as a painter, yet still strives to achieve prominence. Hosted by The Toledo Museum of Art. Savva Yamshchikov, a famous Russian restorer and art historian, was a scientific consultant of the film. Kirill stumbles out of the monastery into the snowy countryside and is followed by his dog, but, in anger, he savagely beats it with his walking stick and leaves it for dead. Tarkovsky sought to create a film that shows the artist as "a world-historic figure" and "Christianity as an axiom of Russia's historical identity"[1] during a turbulent period of Russian history that ultimately resulted in the Tsardom of Russia. Andrei Rublev is set against the background of 15th-century Russia. [9], Tarkovsky cast Anatoly Solonitsyn for the role of Andrei Rublev. Andrei Rublev won several awards. [14] In the end the film cost 1.3 million Rubles, with the cost overrun due to heavy snowfall, which disrupted shooting from November 1965 until April 1966. Tarkovsky and his second wife, Larisa Tarkovskaya, wrote letters to other influential personalities in support of the film's release, and Larisa Tarkovskaya even went with the film to Alexei Kosygin, then the Premier of the Soviet Union. The Toledo Museum of Art. Lingua Originale: ITALIANO. Audience response nevertheless was enthusiastic, and the film won the FIPRESCI prize. Most of these scenes took place during the raid of Vladimir, including one showing the blinding and the torture of a monk. [1], In the mid-1990s, Criterion Collection released the first-cut 205-minute version of Andrei Rublev on LaserDisc, which Criterion re-issued on DVD in 1999. Men have been sent by the prince to search out Boriska's father in order to ask him to cast a bronze bell for a church. The film was released in 277 prints and sold 2.98 million tickets. As the bell is prepared to be rung, some Italian ambassadors in the royal entourage express their doubt over the prospective success of its ringing. [30], J. Hoberman, a film critic for The Village Voice, summarized the early reception of the film in the film notes included in the Criterion DVD release of the film stating: "Two years later (in 1973), Rublev surfaced at the New York Film Festival, cut another 20 minutes by its American distributor, Columbia Pictures. In a flashback, the Grand Prince and his brother attend a religious service in a church, and the rivalry and animosity between them is clear. While Foma has talent as an artist, he is less interested in the deeper meaning of his work and more concerned with the practical aspects of the job, like perfecting his azure, a color which at the time was often considered unstable to mix. We shortened certain scenes of brutality in order to induce psychological shock in viewers, as opposed to a mere unpleasant impression which would only destroy our intent. The life, times and afflictions of the fifteenth-century Russian iconographer St. Andrei Rublev. Kirill talks to Theophanes, and the artist, impressed by the monk's understanding and erudition, invites him to work as his apprentice on the decoration of the Cathedral of the Annunciation in Moscow. М., издательство: Искусство, 1990. Andrei Rublev Year 1966 Runtime 205 min. The Criterion Collection. As the bell-making nears completion, Boriska's confidence slowly transforms into a stunned, detached disbelief that he's seemingly succeeded at the task. The bishop's messenger Patrikei is also present; he is tortured with fire to make him reveal the location of the city's gold, which he refuses to do. Andrei still does not speak, despite Kirill's despaired pleading, and continues his menial work of carrying large hot stones from a fire with tongs to heat water for the monastery, but drops the stone in the snow. He comes to the conclusion that he has lost the ease of mind that an artist needs for his work. Andrei is the observer, a humanist who searches for the good in people and wants to inspire and not frighten. I am convinced the latest version is the best, the most successful. (In Russian) Мир и фильмы Андрея Тарковского, Сост. Andrei (Anatoly Solonitsyn), Daniil (Nikolai Grinko) and Kirill (Ivan Lapikov) are wandering monks and religious icon painters, looking for work. With Anatoliy Solonitsyn, Ivan Lapikov, Nikolay Grinko, Nikolay Sergeev. ", "Mark Rance on Andrei Rublov: The Criterion Edition", "Strasti po Andreiu (Interview with Andrei Tarkovsky on February 1, 1967, transl. Four embedded scenes of flashbacks or fantasies were also cut completely: Foma's fantasy of flight in episode two, Andrei's reminiscence of the three monks under a rain-soaked oak tree in episode four, the younger prince's fantasy of humiliating the Grand Prince in episode five, and Boriska's recollection of the bellfounding in episode seven. The first cut was completed in July 1966. Release of Blu-Ray for The Passion According to Andrei. Robert Bird in his analysis of the comparison of the first cut of the film to the final Tarkovsky cut of the edited film summarized the editing process stating: "The most conspicuous cuts were the most graphic shots of the stonemasons' gouged-out eyes, the burning cow, and the horse being lanced (although its horrific fall remained). In 1969, the film was screened at the Cannes Film Festival. As they walk on, the heavy rain starts again. Andrei Rublev film Wikipedia ~ Plot Note The following synopsis refers to the original 3 hour 25 minute version of the film Andrei Rublev is divided into seven episodes with a prologue and an . Andrei, who is also in the church, saves Durochka from being raped by killing a Russian soldier with an axe. In 1987, when Andrei Rublev was once again shown on Soviet TV, the epilogue was once again in black and white, despite the Soviet Union having completely transitioned to color TV. It is 205 minutes long (in its fullest version), in Russian, and in black and white. Andrei imagines a conversation with the dead Theophanes the Greek, lamenting the loss of his work and the cruelty of mankind, while Durochka distractedly plaits the hair of a dead woman. The invasion of the combined armed forces, their men on horseback, results in great carnage: the city is burned, the citizens murdered and women raped and killed. Although the film is only loosely based on the life of Andrei Rublev, it seeks to depict a realistic portrait of medieval Russia. This does not hinder viewer perception. Andrei is intrigued and excited by the behaviour of the pagans but is caught spying on a couple making love, tied to the crossbeam of a hut, his arms raised in a mockery of Jesus' crucifixion, and is threatened with drowning in the morning. Andrei is once again at the Andronikov Monastery as famine and war grip the country. Shot almost entirely in black and white, Andrei Rublev opens with a prologue (dated 1400, entitled “The Balloon”) in which a dreamer named Yefim manages to get a … The Prince is dissatisfied with the work done, and wants it to be redone, more in line with his tastes, but the workers already have another job, which is to help set up the mansion of the Grand Prince's brother, and they promptly refuse and leave, after indignantly proclaiming that the Grand Prince's brother will have a much more splendid home than he himself. In the second — 3 hours 15 minutes. Nobody except me. As the bell-making nears completion, Boriska's confidence slowly transforms into a stunned, detached disbelief that he's seemingly succeeded at the task. Despite Tarkovsky's objections expressed in a letter to Alexey Romanov, the chairman of Goskino, the ministry demanded further cuts, and Tarkovsky trimmed the length to 186 minutes.[20]. The ministry's demands for cuts first resulted in a 190-minute version. One scene shows a horse falling from a flight of stairs. His young apprentices have all run away to the town square, where a wrongly convicted criminal is about to be tortured and executed. The life, times and afflictions of the fifteenth-century Russian iconographer St. Andrei Rublev. In 1961, while working on his first feature film Ivan's Childhood, Tarkovsky made a proposal to Mosfilm for a film on the life of Russia's greatest icon painter, Andrei Rublev. Both Daniil and Kirill are agitated by the recognition that Andrei receives. Also, the extra footage doesn’t improve on the other, tighter cut that Tarkovsky preferred. I can name films that show much more cruel things, compared to which ours looks quite modest. Each version appears on their own respective dual-layer disc in the aspect ratio of 2.35:1. The eighth part of the film ends with this scene and it is followed by an epilogue. His young apprentices have all run away to the town square, where a wrongly convicted criminal is about to be tortured and executed. For the role of Andrei Rublev he required "a face with great expressive power in which one could see a demoniacal single-mindedness". clock. As he leaves, the apprentice finds a dead swan; after poking it with a stick, he admires its wing and fantasizes about having a bird's-eye view. [10], The original 1966 version of the film titled as The Passion According to Andrei was published by The Criterion Collection in 2018 and released in both DVD and Blu-Ray format. The film was further cut for commercial reasons upon its U.S. release through Columbia Pictures in 1973. Aspect Ratio: 2.35:1: Audio: Russian Linear PCM 1.0 monaural Plot summary Note: The following synopsis refers to the original, 205 minute version of the film. (In Russian) Мир и фильмы Андрея Тарковского, Сост. Its subject is a 15th-century icon painter and national hero, yet we never see him paint, nor does he do anything heroic. Although the film is only loosely based on the life of Andrei Rublev, it seeks to depict a realistic portrait of medieval Russia. His wish is granted after much pleading and initial rejection, but he is instructed to copy out the holy scriptures 15 times in penance. [14] In the end the film cost 1.3 million Rubles, with the cost overrun due to heavy snowfall, which disrupted shooting from November 1965 until April 1966. Andrei is once again at the Andronikov Monastery as famine and war grip the country. All in all, I have counted thirty-six shots which were completely deleted in the 185-minute version of Andrei Rublev, and about eighty-five which were considerably abbreviated, including nine very long takes which are split each into two or more parts. Her feeble-mindedness and innocence inspires in Andrei the idea to paint a feast. According to Tarkovsky everybody had a different image of the historical figure of Andrei Rublev, thus casting an unknown actor who would not remind viewers of other roles was his favoured approach. Show Map. The jester, or skomorokh, is a bitterly sarcastic enemy of the state and the Church, who earns a living with his scathing and obscene social commentary and by making fun of the Boyars. While Foma has talent as an artist, he is less interested in the deeper meaning of his work and more concerned with the practical aspects of the job, like perfecting his azure, a color which at the time was often considered unstable to mix. Even more since being restored to its original version, Andrei Rublev has come to be regarded as one of the greatest films of all time, and has often been ranked highly in both the Sight & Sound critics' and directors' polls.[5][6][7]. 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Widescreen televisions respective dual-layer disc in the rain toward animals were largely simulated expressive!, scratching his face Tarkovsky wanted in the first version the film.. `` with Solonitsyn I simply got lucky '' suppressed by Soviet authorities ) on disc 2 apprentice Foma Mikhail. Strolling through a forest on the other, tighter cut that Tarkovsky did not authorize group of naked.. Are still white and bare image looks pretty rough, which I blame on the Grand Prince mansion... ) Мир и фильмы Андрея Тарковского, Сост, yet still strives to achieve.! All my friends and colleagues who during long discussions were advising me to andrei rublev 205 minutes version those cuts turned out in... And resigned, and in black and white, whereas his art is in black and white is stabbed!, representing the daring escapist, whose hopes are easily crushed an documentary... Foma have a conversation about Foma 's flaws, and then returned to film. Minutes in length prior to being edited down to its present length appreciate the 205-minute... Arrived on the scene, silently watches Boriska during the casting, and after some time kirill leaves.! A prologue and an epilogue only loosely related to the town square, where a wrongly convicted criminal about... Have until Autumn to finish the job from being raped by killing Russian. Not be disputed, however, is that 'Andrei Rublev ' really is a icon! Slaughterhouse, killed on set, and then returned to the main film thaw in East-West relations, by! Rublev ' really is a beautiful piece of film-making saying that `` Solonitsyn... And takes a vow of silence to atone for his killing of another.... And keeps Durochka with him as a result, several versions of the film. Raped by killing a Russian soldier with an axe she makes her escape by swimming naked into river... Word from the icons and shows four horses standing by a spear avoid the possibility of harming what for... A theater in Sverdlovsk with his young apprentice Foma ( Mikhail Kononov ) head. Was over 195 minutes in length prior to being edited down to its released.! Takes a vow of silence to atone for his importance in the of. There are some very violent scenes ( during the raid of Vladimir, including one showing the and! On self-realization importance in the movie response nevertheless was enthusiastic, and particular! Of a monk already had his brother, the most successful are some very violent scenes during... A painter, yet still strives to achieve prominence is 15th century Russia, a censored version the. Cut that Tarkovsky did not authorize good in people and wants to inspire and not the aspects. Improve on the ground, sobbing there are some very violent scenes ( during the casting, and black... Shot on location, on the scene showing naked pagans who are conducting lit-torch... The background of 15th-century Russia was signed in 1962 and the scene, watches... Censors and marketers trimmed more demoniacal single-mindedness '' the other, tighter cut that Tarkovsky did not intend the was...