Andrei Rublev

Andrei Tarkovsky

Andrei Rublev (1966) is an acclaimed and profoundly significant film, regarded as one of the most important projects undertaken by Soviet studios during its production. It commanded a colossal budget for its time, likely the second largest in Russian cinema history for a film produced in 1964.

Origins and Development

The concept for Rublev originated around 1960, a period known as the "Khrushchev Thaw," which saw a nascent sense of freedom and open discussion in the Soviet Union following Stalin's death in 1953. This era coincided with the Soviet government's rediscovery of the great 15th-century icon painter, Andrei Rublev. A major Moscow exhibition dedicated to Rublev, accompanied by a published catalogue, introduced many to him, with some even likening him to Russia's "Leonardo da Vinci".

The screenplay was a collaborative effort, initially between Andrei Tarkovsky and Andrei Konchalovsky, later joined by actor Vasily Livanov, who proposed the initial idea. The creative process was complex; while they gathered extensive material, biographical information on Rublev was scarce, offering the authors considerable creative freedom to imagine and depict life in medieval Russia.

The resulting script was extensive, over 300 pages, akin to a novel, and was initially met with strong approval from the studios. It was even published in "Iskusstvo Kino," a leading Soviet cinema magazine. Notably, early discussions about the script were surprisingly uninhibited, focusing more on the selection of biblical quotes than on adherence to strict Soviet realism.

Production and Censorship Challenges

Filming commenced in 1964 and concluded in 1966. The original 1966 cut of the film bore the title Andrei's Passion, a direct allusion to Christ's Passion. However, the film faced significant censorship hurdles post-production. Its release was delayed, and it ultimately premiered in 1969, representing what was effectively the fourth version of the work. The director continuously refined the film, making edits and purifying the imagery even beyond censorship demands. The director's cut, restored later, is approximately 10 to 11 minutes longer than the general release version, extending to 194 minutes compared to 92 minutes. It is considered a miracle that the film, particularly scenes such as the crucifixion, was released at all given the political climate.

Thematic Depth and Interpretation

Rublev is not merely a historical biography; it is an autobiographical reflection on the artist's role in society, their relationship with faith, religion, and the perpetual search for the Divine.

• Historical and Cultural Self-Determination:

The film delves into the history and self-determination of the Russian people, exploring the true origins of Russian culture and its development as an independent nation. While some idealised medieval Russian history, the film presents an unvarnished, often violent, portrayal of the era. An early intention to include the Battle of Kulikovo, a pivotal moment for Russian freedom, underscores this focus on national identity and struggle.

• The Artist's Journey and Passion:

The film portrays the artist's destiny, often showing their creativity being stifled by external forces and the perseverance required to overcome this. The original title, Andrei's Passion, directly links Rublev's journey to the Passion of Christ, depicting his life as a "cruel way to Golgotha" leading to artistic enlightenment. The narrative structure, with elements of judgment, fire, and a final "feast," mirrors the sequence of Christ's Passion leading to spiritual triumph.

• The Nature of Love and Enlightenment:

The film posits that true enlightenment and connection to the Divine can be found through empathy, unity, and compassion among people, rather than solely through monastic isolation. This universal love is a core theme, presented as a path to perfection and illumination.

• Symbolism of Colour and Truth:

The film primarily uses black and white cinematography for earthly reality, reserving bursts of colour for the final iconic sequences. This artistic choice conveys that "real truth is not on this Earth; it's black and white. The true colours belong elsewhere," in a superior, spiritual realm. The icons themselves are presented as a transfiguration of reality into a spiritual form.

• Hesychasm and Inner Transformation:

The film's philosophical construction incorporates Hesychasm, an Eastern Orthodox monastic practice of constant prayer and inner reflection aimed at approaching God and achieving enlightenment. Rublev was likely a follower of this tradition. The director interprets Hesychasm as attainable through human connection and love, rather than only through monastic solitude. Rublev's journey, marked by encounters and the experience of a brutal world, serves as a purification of his soul, leading him to artistic and spiritual enlightenment. Hesychasm stresses the heart as the highest human faculty, where true contact with God occurs, rather than solely through the intellect.

The entire process of the bell's forging, enduring intense heat and purification, symbolises this Hesychastic journey of the heart.

• Animal Symbolism:
• Horses embody nature, the beauty of creation, and a perfect unity that humanity often disrupts. The brutal killing of a horse during the siege of Vladimir powerfully symbolises the rupture between humans and the natural world, and the destruction of harmony. Horses are seen accompanying characters and reappear throughout, including in the final, harmonious scenes, representing a powerful, natural presence of God's creation. The horse is also akin to the artist, a beast of burden eventually set free.
• Dogs carry dual symbolism: death and loyalty. The act of killing one's own loyal dog demonstrates the murder of innate goodness. The fighting dogs vividly illustrate the inter-human struggles, envy, and the animalistic cruelty when men behave like beasts.
• Thematic Use of "Fools": The film features various "fools," each revealing different facets of human nature and spiritual understanding.
• Kirill, a monastic, embodies mediocrity and corrosive envy. His betrayal of the jester for personal gain highlights a hidden guilt that Rublev observes. His eventual, almost hysterical repentance, though self-serving, leads to a moment of understanding for Rublev.
• The Buffoon (Jester), played by Roland Bykov, a gifted actor who developed much of his own material, represents the spirit of the Russian people, unity, and compassion. His performance, with its critical undertones against powerful figures, was daring. The 360-degree camera movement around him at the beginning evokes the circle of unity.
• Durochka (The Holy Fool), a "mentally healthy" girl, undergoes a profound transformation through love. Her significant eye contact with the Tatar leader and subsequent journey with him, followed by her transformed reappearance with a child, illustrates love's transformative power and spiritual connection. She is a clear example of a "fool for God" in the Russian Orthodox tradition.
• The Cathedral Keeper, portrayed by famous comedian Yuri Nikulin, is a foolish character who tragically becomes a martyr, blending comic persona with profound spiritual drama.
• The Bellmaker, Boriska, is a young, extremely nervous character whose story is central. His journey parallels the flying man from the prologue, facing immense risks with his talent.
• Silence and Penitence: Rublev's self-imposed vow of silence after committing murder is a pivotal act of penance. This period signifies an internal communion, a seclusion, an inner desert where he processes his sin and questions his faith, withdrawing from human connection. In Russian monasticism, "Maliki" (silent monks) exist, and Rublev's silence can be seen as carrying his sin before him without self-justification. Silence is portrayed as the "mother of prayer," a "guardian of thoughts," and a path to "secret Ascent".
• The Bell as a Climax: The casting and ringing of the Bell serves as the film's climactic event, embodying the unity and reunification of the Russian people around a sacred symbol that transcends temporal power. Its creation, from humble origins and primitive labour, symbolises resurrection from the grave and triumph over death, a miracle born from hardship. As a church instrument, it contrasts with military symbols, calling people to spiritual service. The Bell prominently features an image of St. George slaying the dragon, symbolising faith overcoming through spiritual warfare. The arduous forging process, involving intense heat, parallels the purification of inner passions, leading to the "ringing of the heart". Historically, crafting such a large bell was an extraordinary feat due to the scarcity of metal in medieval Russia, making it an "otherworldly commodity" of immense value. The very name "Blagovest" (goodness of God, message of goodness) for a large bell underlines its profound spiritual message. Its resonating sound, carrying for hundreds of miles, evokes an "incredible spiritual experience," a "Resonance of God".
• Apocalyptic Themes: The film extensively uses apocalyptic imagery, including sequences of judgment, fire, famine, and plagues, aligning with the Four Horsemen of the Apocalypse. The resonant sound of the bell can also be interpreted as an apocalyptic sound, akin to trumpets signifying an end.
• Dostoevsky and Betrayal: The act of killing with an axe and the ensuing guilt subtly echo Dostoevsky's Raskolnikov from Crime and Punishment, reflecting the director's ambition to create a Dostoevsky film. The theme of Judas and betrayal is central, particularly seen in Kirill's envy of Rublev and the tortured man's accusation of "Judas" against the raiding Duke, highlighting fratricidal conflict. The actors playing the warring Dukes are twins, intensifying the symbolic act of "killing oneself" through internal conflict. The director harboured profound reflections on Judas's role in Christ's Passion, even planning a final film on the subject before his death.

Casting and Performance

The director had a unique approach to casting, prioritising individuals who shared his artistic vision and working methods, often leading to recurring collaborations. For Boriska, the young bellmaker, the director deliberately cultivated nervousness and insecurity in the actor to achieve an authentic, tense performance.

Anatoly Solonitsyn, who portrayed Rublev, was initially a surprising choice not favoured by the crew, but the director recognised his profound dramatic genius and formed a deep spiritual friendship with him. Solonitsyn famously committed to his role by taking a vow of silence for over a month to prepare for Rublev's period of muteness, especially the pivotal final scene where he speaks again. This genuine commitment to "living out" the part was crucial. Roland Bykov, playing the jester, contributed significantly to his character's development, writing much of his own text and choreography, embodying the tragic figure.

Visual and Aural Language

The film's visual language is striking, employing black and white for historical reality and vivid colour for the iconographic sequences, powerfully illustrating the distinction between the earthly and the sacred. The director recreated elements from icons on set, suggesting a spiritual transfiguration of reality. Nature plays a vital role, symbolising the harmony and beauty of the divine creation. The soundtrack is masterfully crafted, with continuous ambient sounds (silence, squeaking, water drops) forming a subtle background from which musical themes emerge, culminating in the Bell's powerful symphony. This blend creates an almost transcendent, beyond-music experience, a "Resonance of God".

Legacy and Director's Vision

The director, in his early thirties when shooting began (around 32-34 years old), viewed Rublev as his first true film, distinct from Ivan's Childhood, which he considered a search for his artistic language. The film's extraordinary mastery, imagery, and language are seen as something miraculous, a divine gift. The director's personal journey and reflections are woven into the fabric of the film, making it an autobiographical statement on the artist's mission and struggle.