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Just so...so bad

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

It's an amazing and heartbreaking story.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

I have been watching foreign movies for more than 2 years and using IMDb for over 3 years but i had never a chance or the temptation to write a review but this movie...Tarkvosky's ingenious Anderi Rublev made me to write a review about it. Anderi Rublev is a kind of cinema which will make you feel like a human,like an organism who has the ability to enjoy a thing called film. This movie has everything that you have not seen or did not have the chance of experiencing...this movie has some breath taking scenes and sentences. At last i'd say that if you ever have 3 hours free in your lifetime and have an inner most hidden wish to see some quality stuff then choose this movie. Thanks

Where do I begin? The wonderful B&W photography, the hypnotic camera movement, the incredible production design, the cruelty that this beauty finally depicts; Tarkovsky is an Orthodox saint. Here's a proof that god lives in arts and art is in the cinema. This is a masterpiece on pair with its subject's works. Tarkovsky is Rublev.

An epic that succeeds in all of its three hours (I say this because several versions exist), Tarkovsky's preferred vision stands as one of the greatest Russian movies ever made. Because only little is known of Andrei Rublev's life, a heavier focus is made on the hardships and violence of medieval Russia. In doing so the film can approach themes such as artistic freedom, religion and (Ironically) repressive authority (As the film was banned in the Soviet Union, until a few years later when they released a censored version).Though it strangely begins with an unexpected hot air balloon ride, surprisingly in these few short minutes the film has featured many of the themes that will be present throughout the picture, such as life and creative hopes dashed. Religious icon painter Andrei Rublev (Anatoly Solonitsyn, in the first of many Tarkovsky productions), and other wandering monks seek work as they travel across the fields and treacherous landscapes of 15th century Russia. Ever the observer, Rublev is forced to hear the arrogance and shortcomings of his companions, as well as the locals whose lifestyles can be seen as sinful to others, and will eventually fall to the wrath of Prince's and Tartars. It's a long narrative where more hopes are crushed than realised, but ultimately depicts the violence and hardships of the time effortlessly.I've come to respect that the film's focus switches from Rublev and his surroundings, as the cinematography and shots that Andrei Tarkovsky and Vadim Yusov employ just blend the multiple narratives seamlessly. As for music I can only really remember the last 6 or so minutes of the film, but the hundreds of extra's, set pieces and moments I don't want to spoil has its own kind of musical rhythm. The recurring themes are ever present, and the early moments of Tarkovsky's references to classic paintings start here (Such as "A detail of The Hunters in the Snow" (1565) by Pieter Bruegel the Elder, though it features much more prominently in "Solaris", 1972). Of course there is the small amount of infamous animal abuse of a cow and a horse, but I also sternly believe that it was kept to a minimum and handled very well given that the cow was covered in asbestos, and the horse was heading to the slaughterhouse regardless (Trust me, it really isn't all that terrible considering some other movies).Final Verdict: Actions speak louder than words in "Andrei Rublev". Whilst not deeply ambiguous, it certainly fulfils an artistic purpose that never comes off as arrogant. It is as epic and grand as the paintings themselves, and whilst not my favourite of his works it could most definitely be Tarkovsky's masterpiece. 9/10.

This is the second of Tarkovsky's films that I've seen, and on first viewing I can detect deep and very individual stylistic similarities with "Stalker." But "Andrey Rublev" is a still broader and deeper film, and I can also tell on first viewing that I will want to watch it again, and that the opportunity to do so will uncover worlds more. In fact, this is a difficult comment to write because it seems like any attempt to encapsulate the experience of this film in less that it's slow, still, and sometimes turbulent full length would be in vain. This is ostensibly a film about the medieval Russian painter Andrey Rublev, but Tarkovsky has taken the opportunity to make it a film that is really simultaneously a stunningly full portrait of the both loft and low Russia of his day, and a meditation on the nature of power, art, and religious faith.It moves at a deliberately very slow pace, but in every long, still shot where life is allowed to play out without the boundaries imposed by quick cuts, something subtly and revealingly fascinating goes on. We follow a half-nonsense peasant dance, for example, for longer than we would ever expect in a film, and that length is at once uncomfortable an very revealing. It's beautifully photographed, and must have had lavish resources behind its simple-looking recreation of a rural Russia of centuries ago. It's easy to see why the Soviet government was divided and eventually changed its mind on the release of such a beautiful film, honoring a national hero, but showing Christianity favorably in contrast to the invaders and questioning art's subservience to authority. I know I'll be rewarded again by letting the scope of this film wash over me, and letting the various elements making up the conversations on its thematic elements work against each other in my mind in new ways each time. In that way, it is, though much more laconic, reminiscent as some have observed of Dostoevsky.