ivan's childhood cinematography

Impressions of it run far and wide throughout Eastern European cinema, from such specific films as Larisa Shepitko’s austere The Ascent (1976) and Elem Klimov’s Come and See (1985), which has often been described as the most powerful Soviet war film, to the work of Sergei Paradjanov, who has explicitly acknowledged the impact of Ivan’s Childhood on his general oeuvre.

His production is compact but the range is vast: from historical epics to futuristic visions and movements of the human mind. But with Andrei Rublev, Tarkovsky created one of the best films ever made, a label that Ivan's Childhood is not likely to ever receive. The final sequence is beautiful and it brought me to tears. “The most beautiful memories are those of childhood,” Tarkovsky noted, thus a number of private visions were brought into “the texture of the scenery.” In particular, he identified the images of the birch wood, the camouflage of birch branches on the first-aid post, the landscape in the background of the last dream, the lorry full of apples, and the horses wet with rain steaming in the sunshine as derived from his personal memories.Tarkovsky’s debut has much in common with the works of his fellow Soviet filmmakers, and the influence that The Cranes Are Flying had on it is even greater than is generally acknowledged. With humor and verve, Bahram Beyzaie’s Iranian New Wave classic captures a moment in Iranian history when dissent against the authoritarian shah was beginning to percolate below the surface. |, January 2, 2017 The disturbing episode of Ivan’s nightmarish vision in the bunker is a key link to the director’s later work: while in this early film the poetic instances are mostly confined to the space of dreams, later on Tarkovsky would have his protagonists veer away while awake (Solaris, from 1972; Stalker, from 1979). The film is brilliantly crafted with a simple, yet terrific story and it shows that you can pull off something truly wonderful with using the simplest ideas and putting them to a phenomenal style of filmmaking that elevates the film to art. Director Andrei Tarkovsky has mixed daring with poetry in making this film: he shows the Soviet hero as an individual troubled with the doubts and complexities of other humans. We want to hear what you have to say but need to verify your email. As the film opens, the twelve-year-old Ivan has already seen extensive violence and sorrow; the Nazi invasion has led to the death of every member of his family. Like Ivan’s, Tarkovsky’s childhood was spent during the war. Ostensibly an atypical Tarkovsky work (less than 100 minutes!

Coming Soon. The percentage of Approved Tomatometer Critics who have given this movie a positive review. The surrealism of Solaris, the spatial experimentation of Stalker, the psychological insight of Mirror, these are all visible if not fully developed in Ivan's Childhood. "Childhood of Ivan" is not only about Ivan's life but it stands as a symbol for the many Russian lives shattered by the war. Sign up here. Very interesting story.

Ivan (Nikolay Burlyaev) may be a tad less naive, but there's undeniably something of Come and See's Florya in his anger and his resourcefulness. Ivan's Childhood is a fine, well crafted picture that showcases the subtlety of Andrei Tarkovsky's work. Nikolai Burlyayev, gives one of the strongest performances I've seen from a child actor. Urusevsky’s mastery of the camera greatly impressed Tarkovsky, and many of the decisions related to mise-en-scène, camera movement, and scene choreography in Ivan’s Childhood clearly follow the aesthetic model introduced by the cinematographer. This is another standout picture from a director who clearly is able to push the cinematic medium into new territory that has elevated films significantly. IVAN'S CHILDHOOD is a masterful black and white work in which Andrei Tarkovsky demonstrates a complete command of stylistic improvisation, visual experimentation and complex use of symbolism. Tarkovsky wanted the film to look as if Urusevsky had shot it, and his DP, Vadim Yusov, managed to accommodate him. | Rating: 5/5 Like Elem Klimov's devastating classic, there's a mouldy, naturalistic bleakness about Ivan's Childhood that does nothing to brighten the horror of World War II.

If I had seen this when it first appeared, I would have definitely been impressed with it.

He was a very good writer and I love his books "Moment of Truth" ("In the August of 1944"), and "Zosya" that were also adapted to very good movies in Russia. 9/10. Ivan returns from the mission, eats silently, and then falls asleep. Ivan's Childhood is a pretty masterful example of editing, cinematography, acting, direction, and pretty much everything else that's right about film. Tarkovsky's monochrome delight deals with the tragedy of youth lost in war. Andrei Tarkovsky’s objective in Ivan’s Childhood (1962) was, in his own words, “to establish whether or not I had it in me to be a director.” He succeeded brilliantly: this austere, minimalist, and poetic film was the first major accomplishment in an oeuvre that would become one of Russia’s main contributions to the treasury of world cinema. |. It was the first feature film of the famed Soviet director, Andrei Tarkovsky, who took over the project from another young director after it was rejected for "poor quality." The Italian Communist press, however, accused the director of overplaying the lyrical elements and substituting detached bourgeois aestheticism for class-consciousness.

| Rating: 5/5 How beautiful, important and brilliant this movie is, can´t be explained. In this screenplay Ivan is not executed, but sent to the con… | Rating: 5/5 IVAN'S CHILDHOOD is the third film I've seen from acclaimed Russian director Andrei Tarkovsky, and the third I haven't liked.

For his graduation project, Tarkovsky had tried to approach The Cranes Are Flying’s legendary cameraman, Sergei Urusevsky, who had also shot Chukhrai’s austere revolution drama The Forty-first (1956). Remains one of the most remarkable debuts in all of cinema, and one of the most indelible portraits of war and childhood ever made. Amazing cinematography. Further afield, the birch forest love encounter was replicated by Miloš Forman in Loves of a Blonde (1965), while the film’s aesthetics influenced the overall style of one of the finest Yugoslav partisan films, Three (1965), by Aleksandar Petrovic.

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