The sacrifice 1986
When the late Swedish director Ingmar Bergman made his famous statement about his Russian
colleague Andrei Tarkovsky, announcing that he had opened his eyes to the life and cinema he lacked, the veteran creator, the Russian director was investigating in Sweden himself, the film that was destined to be another His works, perhaps the most beautiful in the eyes of many critics. It has been said that Tarkovsky combines in this film elements of his own cinema with elements of Bergman is more like a tribute to the cinema of the latter. In fact, the film began when it was performed after it was completed. It really belonged somewhere between the Swedish and the Russian world, so it is often asked whether Bergman directed this tribute to Tarkovsky's cinema, who knew the film's subject and atmosphere before it was filmed. Or did the statement come before, Vhms Russian order to go in his film in the footsteps of his great predecessor. Whatever the case, this remains the case, for the obvious reason that a great film-lover like Bergman could only see in most of Tarkovsky's previous films a complement to the many things he expressed in his films in metaphysics and thorny existential questions With Tarkovsky's films such as "The Mirror", "Stalker" and even "Andre Roblef". Tarkovsky also demonstrated in these films and others about the religion of art and intellectual towards the Swedish professor. At the time, the latter was repeatedly declared, approaching the height of his idol, that he had retired from cinema and that "the Tarkovsky generation could complete the road." While Tarkovsky, a relatively young man, was carrying several projects for future times, he would die without "The Eucharist" will be the film that we are talking about here, and achieved by Tarkovsky in his Swedish exile, his last film. And more like to be his will.
colleague Andrei Tarkovsky, announcing that he had opened his eyes to the life and cinema he lacked, the veteran creator, the Russian director was investigating in Sweden himself, the film that was destined to be another His works, perhaps the most beautiful in the eyes of many critics. It has been said that Tarkovsky combines in this film elements of his own cinema with elements of Bergman is more like a tribute to the cinema of the latter. In fact, the film began when it was performed after it was completed. It really belonged somewhere between the Swedish and the Russian world, so it is often asked whether Bergman directed this tribute to Tarkovsky's cinema, who knew the film's subject and atmosphere before it was filmed. Or did the statement come before, Vhms Russian order to go in his film in the footsteps of his great predecessor. Whatever the case, this remains the case, for the obvious reason that a great film-lover like Bergman could only see in most of Tarkovsky's previous films a complement to the many things he expressed in his films in metaphysics and thorny existential questions With Tarkovsky's films such as "The Mirror", "Stalker" and even "Andre Roblef". Tarkovsky also demonstrated in these films and others about the religion of art and intellectual towards the Swedish professor. At the time, the latter was repeatedly declared, approaching the height of his idol, that he had retired from cinema and that "the Tarkovsky generation could complete the road." While Tarkovsky, a relatively young man, was carrying several projects for future times, he would die without "The Eucharist" will be the film that we are talking about here, and achieved by Tarkovsky in his Swedish exile, his last film. And more like to be his will.
> Before talking about the "Eucharist," it is necessary to stop at the two terms that are associated with it. The first is that we return to Bergman, who said that "Tarkovsky carries to the art of cinema a new language that allows him to perceive life as a manifestation ... Dream ". The second is the one Tarkovsky wrote on the last picture of his film: "I dedicate this film to my son Andriusha, putting all my hope and all my trust." If we add to this all what the French critic Claude Pele said that "the Eucharist" is "at the same time a prayer, a song, a song and a church song," we can understand the special value that this film has acquired in the context of the history of film art. As well as what many critics said when Tarkovsky left after the film, that it is normal in the "Eucharist" could not have been the last film of the director is sensitive and Tarkovsky look.
> If there is a description that can be released, after this whole presentation, on the film "The Eucharist" it will be only that we are in front of the film Relationships. There are no events here in the logical sense of the word. We have only a group of people, first and foremost Alexander, the writer and former actor who now lives with his small family on the island of Gotland. He lives in an existential crisis where we see, after years of creativity and long work, he has reached the age of old and no longer believes in the power of words. On the other hand, his wife Adelaide, who is very young, is like him, but she is no longer confident of many things that were obvious to her in the past ... She is no longer confident that she made a good choice when she married Alexander. This is despite the fact that she has two sons: a teenage daughter, and a boy who has recently undergone surgery in vocal cords so that he is no longer able to speak. Alexander lives with this family alongside a faithful maid, who at the same time features and behaves charming, with a view from time to time to a post-Philosopher's eulogist and to him to exchange intellectual and spiritual exchanges with philosophy from time to time. At the opening of the film, we know that today is the birthday of Alexander, who feels the pain of a lifetime. But this is not the source of his grief and his only pain. There is also his deep sense that the world lives on the verge of a nuclear disaster. If this frightens him, he is afraid for his family, not for him. The night of remembrance will be, from here, a long and painful night, especially as the television announces the solutions to the nuclear disaster and mass destruction ... Thus closes each of the attendees himself and his fears. Alexander, for a rare time, prays to the Lord with a vow that he will sacrifice all that he has and loves in this world so that he will not do what he was expected to happen. It is within the framework of this vow practiced love with a witch, muttering prayers and endless supplications. At morning, when Alexander awakes, he finds, to his surprise, that everything is normal and that nothing happened from what he thought would happen. Do you see a dream like this? Do you see dreams of survival now? We do not know and Andrei Tarkovsky does not tell us anything of all this. So we will never know whether the next scenes that conclude the film "The Eucharist" are real or a continuation of the dream. In the following scenes, Alexander decides to fulfill his promise. So the house burns and sacrifices everything it likes, until it ends up being driven like a madman to a mental hospital. In the last shot, the boy, who was unable to speak, was the one who spoke a simple question: "In the beginning was the word ... was not this, Father?" Alexander will not answer this question, since he has long ceased to believe in speech.
> In fact, Tarkovsky, like his predecessor for the rest of his previous films, did not try to give any explanation for everything that happens on the screen. In the final texts he wrote, Dar talked about the film and talked about many things, but he never tried to explain or justify. For him, if the film is unable to deliver its essence to a spectator, there will be no need to talk about it. Hence the researchers and the critics are competing to give explanations, and perhaps one of the most correct interpretations, the one who goes to the "madness" Alexander where he saw
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