The Films of Andrei Tarkovsky: A Visual Fugue

by Vida T. Johnson, Graham Petrie

"Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky's films―a very difficult task in any case―must read it." ―The Russian Review

"This book is a model of contextual and textual analysis. . . . the Tarkovsky myth is stripped of many of its shibboleths and the thematic structure and coherence of his work is revealed in a fresh and stimulating manner." ―Europe-Asia Studies

"[This book,] with its wealth of new research and critical insight, has set the standard and should certainly inspire other writers to keep on trying to collectively explore the possible meanings of Tarkovsky's film world." ―Canadian Journal of Film Studies

"For Tarkovsky lovers as well as haters, this is an essential book. It might make even the haters reconsider." ―Cineaste

This definitive study, set in the context of Russian cultural history, throws new light on one of the greatest―and most misunderstood―filmmakers of the past three decades. The text is enhanced by more than 60 frame enlargements from the films.

Genres: Film, Nonfiction, Russia

352 pages, Paperback

First published September 1, 1994

Reviews

[Christopher · Rating 3 out of 5]

This dense but informative volume on the late Soviet director Andrei Tarkovsky (1932-1986) – maker of 7 feature films between 1962 and his death – published in 1994, has much to recommend it, particularly in its first two parts. Authors Vida Johnson and Graham Petrie compile an impressive amount of primary and secondary sources to explore both the production history and meaning of Tarkovsky's work. Elliptical and beautiful, though often challenging, the movies mesmerize through compelling visuals and hypnotically minimalist plots. In every film, there is some kind of quest, ostensibly external, yet primarily internal. In a past career, I not only studied Tarkovsky's work, but traveled to post-Soviet Russia to meet his family and erstwhile collaborators, after which I wrote my Master's Thesis on the final three films – Stalker, Nostalghia and The Sacrifice – and what I termed the "aesthetics of the journey" within them, by which I meant that Tarkovsky's long camera takes effectively place the viewer in the same existential crisis as his protagonists.

Johnson and Petrie discuss all this, and more, capably and with greater skill than did I, and though I disagree with their dismissal of some aspects of the last two films, I admire their otherwise insightful analysis. Unfortunately, the third section of the book, in which they revisit the themes of the films once again, proves redundant, almost as if they felt the need to push past 200 pages. Despite this, I would still call this a solid and important contribution to the canon of Tarkovsky scholarship.

[Hendrik Mosterd · Rating 4 out of 5]

Mooie analyse van de films van Tarkovsky met verwerking van eerdere analyses. Ontnuchterend soms maar op een heilzame manier. Kritische vragen worden niet gemeden terwijl de eigen bijdrage van de man aan de filmkunst ook duidelijk wordt gemaakt. Het boek heeft mij iig geholpen de films om zijn films beter te verstaan.

[David · Rating 4 out of 5]

bit dry but mostly interesting.

[Susan · Rating 3 out of 5]

I do not think Ms Johnson really has a handle on AT. I learnt more from him movies than from this.

[D. J. · Rating 5 out of 5]

This book offers extensive background analyses of all of Tarkovsky's films. A wonderful source of knowledge for all Tarkvosky fans, or anyone wishing to know more about a true cinematic artist.

There's also a great biographical section to this book that serves to illuminate the mind of Tarkovsky.

[Marcie · Rating 5 out of 5]

An easy to read breakdown of Tarkovsky's strikingly beautiful oeuvre.