Andrei is introduced to us as a man who radiates serene piety, projecting the ideal image of devoutness as he travels the countryside of the Grand Duchy of Moscow, visiting cathedrals in search of places to ply his art. His behavior sharply contrasts with the nervousness of his colleagues, fellow monk artists Daniil Nikolai Grinko and Kirill Ivan Lapikovwho move through the cold, harsh land in scuttling fashion, motions that give away their anxiety about leaving the safety of their monastery. Incessant rain turns barren lands—dotted by the craggy, inextricable stumps of recently felled trees—into muddy quagmires, defying attempts to render them hospitable. In this context, the cathedrals the monks visit seem less like houses of God than bulwarks against the innate hostility of the nature he created—the only buildings strong enough to withstand the erosion of rain and wind.
Plot[ edit ] Note: The following synopsis refers to the original, 3 hour 25 minute version of the film. Andrei Rublev is divided into seven episodes, with a prologue and an epilogue only loosely related to the main film.
The main film charts the life of the great icon painter through seven episodes which either parallel his life or represent episodic transitions in his life.
The background is 15th century Russiaa turbulent period characterized by fighting between rival princes and the Tatar invasions. The film's prologue shows the preparations for a hot air balloon ride.
The balloon is tethered to the spire of a church next to a river, with a man named Yefim Nikolay Glazkov attempting to make the flight by use of a harness roped beneath the balloon.
At the very moment of his attempt an ignorant mob arrive from the river and attempt to thwart the flight, putting a firebrand into the face of one of the men on the ground assisting Yefim. In spite of this the balloon is successfully released and Yefim is overwhelmed and delighted by the view from above and the sensation of flying, but he can not prevent a crash landing shortly after.
He is the first of several creative characters, representing the daring escapist, whose hopes are easily crushed.
After the crash, a horse is seen rolling on its back by a pond, a symbol of life—one of many horses in the movie. Fresco Bosom of Abraham by the historical Daniil Chyorny c. The three represent different creative characters. Andrei is the observer, a humanist who searches for the good in people and wants to inspire and not frighten.
Daniil is withdrawn and resigned, and not as bent on creativity as on self-realization. Kirill lacks talent as a painter, yet still strives to achieve prominence. He is jealous, self-righteous, very intelligent and perceptive. The three have just left the Andronikov Monasterywhere they have lived for many years, heading to Moscow.
During a heavy rain shower they seek shelter in a barn, where a group of villagers is being entertained by a jester Rolan Bykov. The jester, or skomorokhis a bitterly sarcastic enemy of the state and the Church, who earns a living with his scathing and obscene social commentary and by making fun of the Boyars.
He ridicules the monks as they come in, and after some time Kirill leaves unnoticed. Shortly, a group of soldiers arrive to arrest the skomorokh, whom they take outside, knock unconscious and take away, also smashing his musical instrument.
As the rain has stopped the three monks thank the villagers for allowing them to shelter and continue on their way. As they walk on the heavy rain starts again. Theophanes the Greek Summer—Winter—Spring—Summer — [ edit ] Kirill arrives at the workshop of Theophanes the Greek Nikolai Sergeyeva prominent and well-recognized master painter, who is working on a new icon of Jesus Christ.
Theophanes is portrayed as a complex character: His young apprentices have all run away to the town square, where a wrongly convicted criminal is about to be tortured and executed. Kirill talks to Theophanes, and the artist, impressed by the monk's understanding and erudition, invites him to work as his apprentice on the decoration of the Cathedral of the Annunciation in Moscow.
Kirill refuses at first, but then accepts the offer on the condition that Theophanes will personally come to the Andronikov Monastery and invite Kirill to work with him in front of all the fraternity and Andrei Rublev, who according to Theophanes' comments has some fame as an icon painter in the outside world.
A short while later at the Andronikov Monastery, a messenger arrives from Moscow to ask Andrei for his assistance in decorating the Annunciation Cathedral with Theophanes the Greek. Both Daniil and Kirill are agitated by the recognition that Andrei receives.
Kirill is jealous of Andrei and in a fit of anger, decides to leave the monastery for the secular world, throwing accusations of greed in the face of his fellow monks, who also dismiss him.
Kirill stumbles out of the monastery into the snowy countryside and is pursued by his dog, but Kirill savagely beats it with his walking stick and leaves it for dead.
Andrei leaves for Moscow with his young apprentice Foma Mikhail Kononov. Foma confesses to taking honey from the bee garden, after Andrei notices his cassock is sticky, and smears mud on his face to soothe a bee sting. While Foma has talent as an artist, he is less concerned with the deeper meaning of his work and more concerned with practical aspects of the job, like perfecting his azurea colour which in painting was often considered unstable to mix.
They encounter Theophanes in the forest, and the old master sends Foma away. As he leaves, the apprentice finds a dead swan and pokes at it with a stick. We cut to banks of a stream where Andrei and Theophanes are arguing about religion, while Foma cleans his master's paint brushes.
This section contains a Passion Playor a reenactment of Christ 's Crucifixionon a snow-covered hillside which plays out as Andrei recounts the story and expresses his belief that the men who crucified Jesus were obeying God's will and loved him.
The Holiday [ edit ] Camping for the night on a riverbank, Andrei and Foma are collecting firewood for their group when Andrei hears the distant sounds of celebration further upstream in the woods.
Going to investigate he encounters a large group of naked paganswho are conducting a torch lit ritual for Midsummer.Andrei Rublev is loosely based on the life of the 15th century Russian icon painter of the same name.
The film is shot in black and white, but definitely has most of the characteristics of Tarkovsky's later films: Long edits, not much cutting, beautiful cinematography and challenging dialogue/5(9). Andrei Rublev (Russian: Андрей Рублёв) is a Soviet biographical historical drama film directed by Andrei Tarkovsky and co-written with Andrei Konchalovsky.
The film is loosely based on the life of Andrei Rublev, the 15th-century Russian icon painter. Dec 24, · This is what makes Andrei Rublev a unique and important film, since it addresses the role of the artist in the world.
Any questions regarding historical accuracy (or rather lack thereof) towards Rublev's personal life are slightly pointless, since the character is merely used as a vehicle to drive the thematic elements of the narrative/10(K). Mar 07, · Andrei Rublev (Russian: Андрей Рублёв, Andrey Rublyov), also known as The Passion According to Andrei (Russian: Страсти по Андрею), is a Soviet biographical.
Andrei Rublev is a great Russian (Soviet-era) film from directed by the brilliant Russian director Andrei Tarkovsky (he who made "My Name is Ivan" and "Solaris"). Andrei Rublev, the title character, was a 15th century Russian painter of icons (Orthodox Christian religious paintings)/5(90).
Viewers and critics always have their personal favourites, but some films achieve a masterpiece status that becomes unanimously agreed upon – something that's undoubtedly true of Andrei Rublev.