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Yet Romm was a brilliant and unorthodox teacher, and unorthodoxy was precisely what Tarkovsky needed. During his time at VGIK, Tarkovsky and his fellow students studied all aspects of filmmaking, watching the classics of Soviet cinema and taking part in workshops in which they demonstrated their technical ability.

Paradjanov thought equally highly of Tarkovsky. He also spoke highly of Iosseliani, and, on occasion, of Boris Barnet. It is obviously a most mysterious, almost imperceptible process. All the parts were played by Tarkovsky and his fellow students, only one of whom, Vassily Shukshin, would go on to a significant professional acting career. Direct camera address is used 17 Shukshin —74 went on to have a successful career as both actor, writer and director. Hemingway was very popular in Russia, and maintained a lifelong, warm epistolary relationship with his translator, Ivan Kashkin Filmmakers, Tarkovsky included, adopted the practice of giving Western names to characters to lessen the charge that their films might be perceived as being critical of the regime.

It was live, the record didn't exist. A first conductor was called, but went into hiding, a second fainted, a third accepted, quivering. In short, everyone panicked except Yudina, an intrepid person who loved cats and crossed herself at the beginning of her concerts. Tarkovsky contributed uncredited to the script, and also appeared as an actor, playing a White officer who shoots Bolshevik prisoners, including the titular hero. Even more significantly, the character was added to the script by Tarkovsky himself.

He spends the entire scene lying almost catatonic on his bed, resigned to his fate when Nick tells him that Max and Al are coming to kill him.

Here we have the inner crisis so central to every later Tarkovsky film. The film tells the story of a cache of unexploded bombs unearthed by building works in a provincial Russian city it was shot in Kursk, and was based on actual events.

In many respects, it is a work of classic Soviet socialist realism: the soldiers who dispose of the cache are ordinary heroes, as is the off-duty fireman who risks life and limb to help them.

The committee are shown responding to the crisis in an efficient manner one committee member stands up and says that if he could, he would remove the bombs from the city himself ; the townspeople flee in an orderly fashion to the safety of a hillside out of town; others depart on trains; surgeons heroically carry on with an operation in the hospital, despite the danger. The use of music is largely conventional, the treatment of time and space likewise. When we first see the committee room, we cut to a man doodling.

When the engineer phones Verchinine of the municipal committee to report the discovery of the cache, the light in the office is flickering perhaps shadows cast by an unseen fan. When the need arises to take the heat of the sun off the exposed bombs, one of the disposal team places his jacket over the bombs, but not before removing his wallet and comb from a pocket. They are waiting among the puddles by a hospital wall.

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They are ordered to take off their coats and boots. After the cache has been uncovered, the off-duty fireman Makarytch visits the office to ask the Colonel if he can help.

When Captain Galitch enters, the camera tracks past Makarytch to Galitch, and the Colonel follows the camera to speak with the Captain. As Galitch and Makarytch smoke, Makarytch - believing he will not be able to help with the bomb disposal - says he is going away to water the flowers. As if some secret word has been uttered, the door to the committee room swings open to reveal the entire committee looking out at the two men.

They are startled by the sudden movement of a mug hanging by the water urn, moving slightly, the tap dripping. A small tree is disturbed in the wind.

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But even this fairly conventional, almost innocuous, scene, could be read as the germ for a later, more celebrated sequence. Like us who are rushing, fussing, uttering banalities. This is followed by one of the soldiers hearing an engine revving.

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He walks over to the workshop, where a mechanic is doing some work on a truck. This scene is not explained, the sound non-diegetic at first, only making sense when the mechanic is revealed. Central to this theory was the flow of time within the shot. Cause and effect arc, in a moral sense, linked retroactively; and then a person does, as it were, return to his past. The latter theory, montage theory, was championed, of course, by Sergei Eisenstein, in the s.


For Tarkovsky, this missed something inimical to the film image: I am radically opposed to the way Eisenstein used the frame to codify intellectual formulae. My own method of conveying experience to the audience is quite different.

It deprives the person watching of that prerogative of film, which has to do with what distinguishes its impact on his consciousness from that of literature or philosophy: namely the opportunity to live through what is happening on the screen as if it were his own life, to take over, as deeply personal and his own, the experience imprinted in time upon the screen, relating his own life to what is being shown. When the soldiers are working in the pit to remove the bombs, one asks what day it is.

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There are a few other moments that foreshadow the later film. The central crisis of the bombs establishes that we are in a time of local apocalypse.

Verchinine and the colonel acknowledge the impossibility of exploding the bombs where they lie on Sovietskaya Street. The evacuation of the city plays out to conventional music, but the scene is grimly effective nonetheless. Sasha, now standing in a different location, is then shown looking around, reflected light shining on his face.

The bomb disposal sequence forms the dramatic centrepiece of the film. At one point, Tsignadze, the platoon joker, stops work and pretends that the bomb in his arms is a baby. The other soldiers laugh; Galitch tells him to stop fooling around. When Galitch has to decide which wire to cut to make the bomb safe, he has to trust in luck - or is it a moment of faith? The soldiers treat their charges with the utmost care, brushing earth off the bombs, shielding them from the sun, cradling them like children.

Earth is a vulnerable ground constantly covered, battered and burnt by the other elements. How many times do the characters confront the earth, the mud, the original clay of which they were made, from which they seem not yet to be free, and choose to bury themselves in it?

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