Andrei Tarkovsky, director of Andrei Rublev, inducted into the Cinema Pantheon

Thanks to the overwhelming vote of confidence by the members of rec.arts.movies.past-films ANDREI TARKOVSKY has officially joined the masters Welles and Kubrick in the great Pantheon Hall of five star directors.

Please supply a brief paragraph or a commentary that sums up Tarkovsky's importance in the history of world cinema.

Your comments will be recorded in the Pantheon archives. Thank you.

Galina Schneider

against Orthodox religion, director Sergei religion and daily life in the Ukraine with his universal theme of star crossed lovers. Two Rublev' fleeing the world for a world of the the latter film as an integral part of the Both were part of an examination of the role of

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Here's a vote of confidence:

Tarkovsky may be the greatest director of motion pictures, ever.

He wasn't going up against just Welles and Kubrick, but Eisenstein.

Your not orthodox. You have the only church on the planet that was created by a self-confessed!!! atheist Tito. How stupid can you be??? And your not Macedonian either.

tommy makendonos o

against Orthodox religion, director Sergei religion and daily life in the Ukraine with his universal theme of star crossed lovers. Two Rublev' fleeing the world for a world of the the latter film as an integral part of the Both were part of an examination of the role of

We rented 'Andrei Rublev' a couple of weeks ago. The cinamatograpy is wonderful. The sets and action are amazing. In many places I have no idea what was going on or why things were happening. Who was the balloonist at the beginning? Why was he attacked by the crowd. What does the horse rolling over have to do with it or mean. The last act with the young bell maker is marvelous, but how does it fit? This is the only Tarkovsky movie I've seen and it is visually stunning and very puzzling.

As a matter of fact, my understanding of this film is about the struggle with thoughts. Not necesarily passionate ones (although it involves Kelvin's dead wife) but obsessive memories.

The lesson of the film, IMHO, is that we must treat our memories as if they were real, living persons. I taught about this on another thread about how to cope with our departed relatives when we can't rely only on prayer.

After all, once he was dead, Lazarus only existed in the mind of his friends and family, and particularly Our Lord who called him his friend. Through the power of the Word of God Lazarus could be ressuscitated from the state of a divine souvenir to a real living person again. This means that we don't only live in ourselves, in our body, but also in the mind of those we've met or who've heard of us - and ultimately in God through the calling of our prayers.

'I am in you and you are in me' is the key to the understanding of the true nature of personal life. Departed people live in us, in our memory, but somehow we too live in them, since they sometimes seem to insist on entering our mind, and although they can't change their fate (there's no act they can add or erase from their past life) we can contemplate their life everytime with new eyes and find new words of consolation for them, like they bring us, through our mourning, the consolation of their vivid souvenir.

Vassili,

Let's talk about Soljaris a little. I have always felt it was a highly religious film. People are brought to a place and that place creates from their thoughts. It is a kind of heaven or hell, depending on the material of the

Some of 'mine', i.e. my family are not Orthodox, true. But some are. Including me.

commie tito created no church

relatively stupid

Some of mine aren't, definitely. And I am an American. You Australian?