The Sacrifice (1986) - [10/10]
Tarkovsky's legacy and impact on cinema. This film is a masterpiece. Period, end of story. Every single scene is meticulously crafted and executed. Tarkovsky applies each and every technique that he has learned - and mastered - over the years and solidifies himself as a master of cinema. An artist. An expert. An auteur. I'd be lying if I said I did not cry. I cried twice. Once at the beginning, and once at the end. The opening credits hadn't even finished, and I was in tears. I don't know if it's because I realized that this was Andrei Tarkovsky's final film, his last mark on cinema history, or if it was because of the beauty that overcame my senses, from sound to sight. I cried at the end, because it was over. Tarkovsky's last film. It ends triumphantly, magnificently, and heartbreaking(ly). It is a legendary ending, juxtaposing the end of life and all we own (a house fire) and the beginning of life (a child caring to a young tree). This film marks the end of the Andrei Tarkovsky Appreciation Event, the end of Tarkovsky's filmography, and the end of a legend. But is it the end or just the beginning?
Tarkovsky's filmography will forever be immortalized in film history. Each of his seven films are masterpieces in their own ways. 0. The Steamroller and the Violin (1961): One of the greatest short films to come from a film student and proof that Tarkovsky had limitless potential. 1. Ivan's Childhood (1962): One of the best directorial debuts and wartime character studies. 2. Andrei Rublev (1966): One of the best biopics and historical epics in film history. 3. Solaris (1972): One of the greatest space and psychological journeys to cross the silver screen. 4. The Mirror (1975): One poetic piece of cinema in every way and an incredibly personal experience. 5. Stalker (1979): One of the finest science-fiction films of all time and a masterclass in filmmaking. 6. Nostalghia (1983): One of the most sincere and reflective films to ever be conceived. 7. The Sacrifice (1986): One of the best shot films and a beautiful end to a master's work. Every film Tarkovsky created is quintessential to cinema. Even though Andrei Tarkovsky passed away, he lives on. Someone somewhere, will discover his work. Someone somewhere, will be inspired by his work. Someone somewhere, will pay homage to his work (I will pay homage to him... one day). Tarkovsky may be gone, but his impact on cinema will never disappear.
Now onto The Sacrifice (1986). I really couldn't find much wrong with it (hence the 10/10 rating). Maybe the slow pace, but slow paced films don't bother me. This film has a lot of main characters in it, and it works. Each character is written originally, organically, and purposefully. At times the different personalities clash, and then moments later they blend. The overall chemistry of the entire ensemble is really great. Erland Josephson is the main (main) character. He is amazing in this film. From the very first scene, we are connected with him (even though the camera is distant, but I'll get to that later). That's really how it is with all of the characters in the film - we're connected with them. They're completely real, raw, and original. Josephson doesn't just carry the film, he makes it. Without him, the supporting main characters would not have worked. He is the common ground for the audience, between insanity and rationality. The performances were up to par with the quality of the film, but in the end some characters could have had a little more "stage presence." Such as Julia and Maria's characters (Valérie Mairesse and Filippa Franzén). They weren't as fleshed out as they could have been, and I think both of their performances weren't as strong (or noticeable) as the rest of the cast. Regardless, their characters still work. In the grand scheme of things, they did not need to be as present as the other characters, but it would have been nice to see. Overall, the ensemble cast (something Tarkovsky really hadn't done before) worked. The way these characters worked wasn't just because of the actors, but also because of the writing. Tarkovsky wrote such a complex plot for this film. He throws everything he has into it. Every stylistic device. Every metaphor. Every amount of personal-ness he can add. The Sacrifice (1986) was dedicated to Tarkovsky's son. The son who he had not been able to see for eighteen months. This is a love letter to him, and a message to all of human race (I know, big expectations to fulfill). The story serves as a warning to mankind: to not abandon our spirituality for materialistic goods because when you lose everything you own, all you have is your faith. I think this story is as important and impactful as it was back in 1986. It holds up on so many levels. From the historical allusions to the character attributes utilized. The plot slowly (very slowly) evolves from a normal day into dire circumstances (WWIII) to only devolve back into normality. It's hard to explain because the plot is simple, yet complex. Beautiful, yet devastating. Each line of dialogue is real, yet expositional and artistic. I learned a lot about how to write an effective film and how to write subtextual dialogue on the first watch. I wasn't even trying to learn anything, I was just trying to experience it. That shows how amazing the writing is. It captivates you. It intrigues you. And it makes you question yourself. Andrei Tarkovsky writes with such nuance, mastery, and experience (as in he puts his own experiences into the film), to craft a timeless piece of art named, The Sacrifice (1986). The cinematography is gorgeous. There are a total of 115 shots in this film. 115. That means that the average length of each shot is a minute and a half (not every scene is a minute and a half, that's just the average length of each shot for the 149 minute runtime). There are sequences that last upwards of 6 minutes long. The length of a scene doesn't mean a film is beautifully shot, but what it captures does (that isn't to say that the long takes aren't beautiful in themselves - they are). This film captures beauty in its purest form. It captures nature, humanity, kindness, faith, and much more... just through imagery. The shots Tarkovsky and Sven Nykvist choose to use, denote emotion. Every single shot has a purpose. Like the very end of the film, it directly parallels the opening to Tarkovsky's first film, Ivan's Childhood (1962). The Sacrifice (1986) ends focused on a tree, and Ivan's Childhood (1962) begins with a single tree in focus. I doubt that this was done purposefully, but this connection just ties his films together. Although, I wouldn't be surprised if this was in fact done purposefully. Regardless, all of Tarkovsky's films are shot beautifully, each with their own style, emotion, and composition. COMPOSITION! I completely forgot about the composition of this film. Each scene is staged to perfection. The camera revolves around each character, hitting marks that are just aesthetically pleasing. The composition of each scene is purposeful, as characters move around (in and out of frame) to reveal new things. The mix of scene composition and camera maneuvers just elevates this masterpiece.
The Sacrifice (1986): Tarkovsky's final film. This is the penultimate Tarkovsky film. It is the an incredible cinematic experience. I had very high expectations going into viewing this, and they were exceeded. This film is nearly perfect, marking the end of Tarkovsky, and places him within the ranks of the greatest filmmakers that ever lived. Seeing this final film makes me wonder... how different would film history be if Tarkovsky hadn't sacrificed his life for art. I'm sure he would have somehow outdone this film with an eighth feature, but we'll never know. We'll never know what he thought of today's masterpieces. If he really enjoyed The Terminator (1984), imagine what he would have thought of films like The Matrix (1999)? Or even films like The Shawshank Redemption (1994)? Marvel films? I would love to hear his opinion on these films, but I don't think I ever will. All we have are the films he made, books he wrote, and ideologies he established to communicate with him. His seven masterpieces. That is how we will continue to celebrate Andrei Tarkovsky's legacy. So as the month of April ends, Tarkovsky's birthday month, so does this event. The goal was to view every Tarkovsky film and to review them for a greater audience, and I can confidently say that I did so. I've had so much support on this, and I thank you. I thank every single one of you for simply viewing my posts, because now you've heard of Andrei Tarkovsky. And maybe, one day you'll decide to watch one of his films - and I hope you do. Andrei Arsenyevich Tarkovsky was one of the greatest filmmakers that ever lived, and a filmmaking hero of mine. I've really exhausted all of my opinions on his films, so I won't bother explaining them to you anymore... I'll let him do it. "My purpose is to make films that will help people to live, even if they sometimes cause unhappiness." -Andrei Arsenyevich Tarkovsky (April 4th, 1932 - December 29, 1986).
Tarkovsky's legacy and impact on cinema. This film is a masterpiece. Period, end of story. Every single scene is meticulously crafted and executed. Tarkovsky applies each and every technique that he has learned - and mastered - over the years and solidifies himself as a master of cinema. An artist. An expert. An auteur. I'd be lying if I said I did not cry. I cried twice. Once at the beginning, and once at the end. The opening credits hadn't even finished, and I was in tears. I don't know if it's because I realized that this was Andrei Tarkovsky's final film, his last mark on cinema history, or if it was because of the beauty that overcame my senses, from sound to sight. I cried at the end, because it was over. Tarkovsky's last film. It ends triumphantly, magnificently, and heartbreaking(ly). It is a legendary ending, juxtaposing the end of life and all we own (a house fire) and the beginning of life (a child caring to a young tree). This film marks the end of the Andrei Tarkovsky Appreciation Event, the end of Tarkovsky's filmography, and the end of a legend. But is it the end or just the beginning?
Tarkovsky's filmography will forever be immortalized in film history. Each of his seven films are masterpieces in their own ways. 0. The Steamroller and the Violin (1961): One of the greatest short films to come from a film student and proof that Tarkovsky had limitless potential. 1. Ivan's Childhood (1962): One of the best directorial debuts and wartime character studies. 2. Andrei Rublev (1966): One of the best biopics and historical epics in film history. 3. Solaris (1972): One of the greatest space and psychological journeys to cross the silver screen. 4. The Mirror (1975): One poetic piece of cinema in every way and an incredibly personal experience. 5. Stalker (1979): One of the finest science-fiction films of all time and a masterclass in filmmaking. 6. Nostalghia (1983): One of the most sincere and reflective films to ever be conceived. 7. The Sacrifice (1986): One of the best shot films and a beautiful end to a master's work. Every film Tarkovsky created is quintessential to cinema. Even though Andrei Tarkovsky passed away, he lives on. Someone somewhere, will discover his work. Someone somewhere, will be inspired by his work. Someone somewhere, will pay homage to his work (I will pay homage to him... one day). Tarkovsky may be gone, but his impact on cinema will never disappear.
Now onto The Sacrifice (1986). I really couldn't find much wrong with it (hence the 10/10 rating). Maybe the slow pace, but slow paced films don't bother me. This film has a lot of main characters in it, and it works. Each character is written originally, organically, and purposefully. At times the different personalities clash, and then moments later they blend. The overall chemistry of the entire ensemble is really great. Erland Josephson is the main (main) character. He is amazing in this film. From the very first scene, we are connected with him (even though the camera is distant, but I'll get to that later). That's really how it is with all of the characters in the film - we're connected with them. They're completely real, raw, and original. Josephson doesn't just carry the film, he makes it. Without him, the supporting main characters would not have worked. He is the common ground for the audience, between insanity and rationality. The performances were up to par with the quality of the film, but in the end some characters could have had a little more "stage presence." Such as Julia and Maria's characters (Valérie Mairesse and Filippa Franzén). They weren't as fleshed out as they could have been, and I think both of their performances weren't as strong (or noticeable) as the rest of the cast. Regardless, their characters still work. In the grand scheme of things, they did not need to be as present as the other characters, but it would have been nice to see. Overall, the ensemble cast (something Tarkovsky really hadn't done before) worked. The way these characters worked wasn't just because of the actors, but also because of the writing. Tarkovsky wrote such a complex plot for this film. He throws everything he has into it. Every stylistic device. Every metaphor. Every amount of personal-ness he can add. The Sacrifice (1986) was dedicated to Tarkovsky's son. The son who he had not been able to see for eighteen months. This is a love letter to him, and a message to all of human race (I know, big expectations to fulfill). The story serves as a warning to mankind: to not abandon our spirituality for materialistic goods because when you lose everything you own, all you have is your faith. I think this story is as important and impactful as it was back in 1986. It holds up on so many levels. From the historical allusions to the character attributes utilized. The plot slowly (very slowly) evolves from a normal day into dire circumstances (WWIII) to only devolve back into normality. It's hard to explain because the plot is simple, yet complex. Beautiful, yet devastating. Each line of dialogue is real, yet expositional and artistic. I learned a lot about how to write an effective film and how to write subtextual dialogue on the first watch. I wasn't even trying to learn anything, I was just trying to experience it. That shows how amazing the writing is. It captivates you. It intrigues you. And it makes you question yourself. Andrei Tarkovsky writes with such nuance, mastery, and experience (as in he puts his own experiences into the film), to craft a timeless piece of art named, The Sacrifice (1986). The cinematography is gorgeous. There are a total of 115 shots in this film. 115. That means that the average length of each shot is a minute and a half (not every scene is a minute and a half, that's just the average length of each shot for the 149 minute runtime). There are sequences that last upwards of 6 minutes long. The length of a scene doesn't mean a film is beautifully shot, but what it captures does (that isn't to say that the long takes aren't beautiful in themselves - they are). This film captures beauty in its purest form. It captures nature, humanity, kindness, faith, and much more... just through imagery. The shots Tarkovsky and Sven Nykvist choose to use, denote emotion. Every single shot has a purpose. Like the very end of the film, it directly parallels the opening to Tarkovsky's first film, Ivan's Childhood (1962). The Sacrifice (1986) ends focused on a tree, and Ivan's Childhood (1962) begins with a single tree in focus. I doubt that this was done purposefully, but this connection just ties his films together. Although, I wouldn't be surprised if this was in fact done purposefully. Regardless, all of Tarkovsky's films are shot beautifully, each with their own style, emotion, and composition. COMPOSITION! I completely forgot about the composition of this film. Each scene is staged to perfection. The camera revolves around each character, hitting marks that are just aesthetically pleasing. The composition of each scene is purposeful, as characters move around (in and out of frame) to reveal new things. The mix of scene composition and camera maneuvers just elevates this masterpiece.
The Sacrifice (1986): Tarkovsky's final film. This is the penultimate Tarkovsky film. It is the an incredible cinematic experience. I had very high expectations going into viewing this, and they were exceeded. This film is nearly perfect, marking the end of Tarkovsky, and places him within the ranks of the greatest filmmakers that ever lived. Seeing this final film makes me wonder... how different would film history be if Tarkovsky hadn't sacrificed his life for art. I'm sure he would have somehow outdone this film with an eighth feature, but we'll never know. We'll never know what he thought of today's masterpieces. If he really enjoyed The Terminator (1984), imagine what he would have thought of films like The Matrix (1999)? Or even films like The Shawshank Redemption (1994)? Marvel films? I would love to hear his opinion on these films, but I don't think I ever will. All we have are the films he made, books he wrote, and ideologies he established to communicate with him. His seven masterpieces. That is how we will continue to celebrate Andrei Tarkovsky's legacy. So as the month of April ends, Tarkovsky's birthday month, so does this event. The goal was to view every Tarkovsky film and to review them for a greater audience, and I can confidently say that I did so. I've had so much support on this, and I thank you. I thank every single one of you for simply viewing my posts, because now you've heard of Andrei Tarkovsky. And maybe, one day you'll decide to watch one of his films - and I hope you do. Andrei Arsenyevich Tarkovsky was one of the greatest filmmakers that ever lived, and a filmmaking hero of mine. I've really exhausted all of my opinions on his films, so I won't bother explaining them to you anymore... I'll let him do it. "My purpose is to make films that will help people to live, even if they sometimes cause unhappiness." -Andrei Arsenyevich Tarkovsky (April 4th, 1932 - December 29, 1986).