Go nuts people, you have an entire film dedicated to one man's psychology.
Tentatively ILI. I can certainly see him as a much more morose, mature vision of the young and yet-unwoven tapestry which writes this thread.
Kind of interested in Domenico. If anyone says "madman ILE" I will find you and give you a strong staring down.
scribbles in the dark
I am too lazy. Please be less lazy than myself and provide us pictures, videos and quotes directly in this thread.
Hasta la vista, babe.
If you're too lazy to watch an incredibly important film with shots up to 10 minutes long, I don't think I want your opinion. *turns up nose and gusts out of thread*
scribbles in the dark
@Holon. I want to watch it. Probably tomorrow!
You seek a great fortune, you three who are now in chains. You will find a fortune, though it will not be the one you seek.
But first you must travel a long and difficult road, a road fraught with peril.
You shall see things, wonderful to tell. You shall see a... cow... on the roof of a cotton house. And, oh, so many startlements.
I cannot tell you how long this road shall be, but fear not the ob-stacles in your path, for fate has vouchsafed your reward.
Though the road may wind, yea, your hearts grow weary, still shall ye follow them, even unto your salvation.
Originally Posted by Holon
I consider myself something of a film fan. I can appreciate how Bergman uses a Dutch angle in a decrepit boat to convey insanity in Through a Glass Darkly, how Fellini uses diegetic music sources to make his actors sort of bob with the beat in Nights of Cabiria, and how David Lynch uses the Club Silencio sequence in Mullholland Drive to break the fourth wall.
Yet I find Tarkovsky and his laborious shots incredibly trying with my patience. Nostalghia is the one film of his I've been able to see, and I tried and failed to watch it multiple times. I find everyone in this "transcendental" school - Dreyer, Bresson, and Tarkorsky, too - who confuse looking at something slowly for profundity (lest we forget that Kane, usually voted the greatest film of all, moves at an incredibly fast editing clip in certain sections) as incredibly uninteresting.
SPOILERS NEXT PARAGRAPH
As a concession to Tarkovsky, I find the scene at the end of Nostalghia where the man sets himself on fire to Beethoven as incredibly moving, especially the part where the record breaks and the poetic nature of self-immolation disappears and we are now just watching unfiltered human agony, without any glory. But the specificity the speech before does injustice to the images, and I had to view the scene without context, because nonsequential jumps between hearing an antiquated speech about women's place in the home followed by a 10 minute pan over old men in spring bath or whatever is a failure to establish a grammar. In the movie, the guy says something along the lines of, "Poetry is untranslatable". Perhaps it is. Perhaps I will never truly understand Homer, and perhaps I am not able to understand a movie which is about rhythms of life in the Italian and Russian countrysides. Perhaps this is so, but I can appreciate Fellini, and Sergei Parajanov, and Tolstoy. If your art doesn't translate, perhaps that just makes you a tawdry artist. I lean towards the latter in Tarkovsky's case.
I don't type fictional characters anymore. I would type Tarkovsky LSI, because, despite all his ranting and raving about "time", he is incontinent when it comes to terms of pace.