Andrei Tarkovsky

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Andrei Arsenyevich Tarkovsky (Russian: Андрей Арсеньевич Тарковский) (April 4, 1932–December 29, 1986) was a Soviet and Russian filmmaker, writer, film editor, film theorist and opera director.

Tarkovsky's films include Andrei Rublev, Solaris, The Mirror, and Stalker. He directed the first five of his seven feature films in the Soviet Union; his last two films were produced in Italy and Sweden, respectively. They are characterized by spirituality and metaphysical themes, long takes, lack of conventional dramatic structure and plot, and distinctively authored use of cinematography.

Ingmar Bergman said of him: "Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".[1]

Contents

Life

Childhood and early life

Tarkovsky was born in the village of Zavrazhye in Ivanovo Oblast, the son of poet and translator Arseny Alexandrovich Tarkovsky, native of Kirovohrad, Ukraine, and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute.

Tarkovsky spent his childhood in Yuryevets.[2] He was described by childhood friends as active and popular, having many friends and being typically in the center of action. In 1937, his father left the family, subsequently volunteering for the army in 1941. Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press. In 1939, Tarkovsky enrolled at the Moscow School № 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrey Voznesensky was one of his classmates. He learned the piano at a music school and attended classes at an art school. The family lived on Shshipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948, he was in a hospital with tuberculosis. Many themes of his childhood - the evacuation, his mother and her two children, the withdrawn father, the time in the hospital - feature prominently in his film The Mirror.

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