Andrey Rublyov (1966)

Director:

Andrei Tarkovsky

Writers:

Andrei Konchalovsky (writer)
Andrei Tarkovsky (writer)

Release Date:

1973 (USA)

Genre:

Biography | Drama | History | War

Plot:

Andreiv Rublev charts the life of the great icon painter through a turbulent period of 15th Century Russian history...

Plot Keywords:

Prince | Invasion | Russian | Icon | Tatar

Awards:

3 wins

Cast

Anatoli Solonitsyn	...	Andrei Rublyov
Ivan Lapikov	...	Kirill
Nikolai Grinko	...	Danil Chorny
Nikolai Sergeyev	...	Theophanes the Greek
Irma Raush	...	Idiot girl (Durochka)
Nikolay Burlyaev	...	Boriska
Yuriy Nazarov	...	The Grand Prince / The Lesser Prince
Yuri Nikulin	...	Monk Patrikey
Rolan Bykov	...	The jester
Nikolai Grabbe	...	Stepan
Mikhail Kononov	...	Foma
Stepan Krylov	...	Head Bell-founder
Irina Miroshnichenko	...	Mary Magdalene
Bolot Bejshenaliyev	...	Tatar Khan
rest of cast listed alphabetically:
K. Aleksandrov
S. Bardin
E. Borisovsky
I. Bykov
Igor Donskoy	...	Christ
Nikolai Glazkov	...	Efim
Vladimir Guskov		(as Vova Guskov)
Nikolai Kutuzov		(as N. Kutuzov)
I. Loskoy
B. Matysik
Anatoli Obukhov
Tamara Ogorodnikova	...	Mother of Jesus
Dmitri Orlovsky	...	Old Stonemason
G. Pokorsky
P. Radolitskaya
Muratbek Ryskulov		(as M. Ryskulov)
G. Sachevsko
Nelly Snegina	...	Marfa (as N. Snegina)
Aleksandr Titov
Vladimir Titov		(as Volodya Titov)
Slava Tsarev
A. Umuraliyev
Vasili Vasilyev		(as Vasya Vasilyev)
Vladimir Volkov
Zinaida Vorkul
N. Vykov

Directed by
Andrei Tarkovsky

Writing credits (in alphabetical order)
Andrei Konchalovsky		writer (as Andron Mikhalkov-Konchalovsky)
Andrei Tarkovsky		writer

Produced by
Tamara Ogorodnikova	....	producer (as T. Ogorodnikova)

Original Music by
Vyacheslav Ovchinnikov

Cinematography by
Vadim Yusov

Film Editing by
Lyudmila Feiginova
Olga Shevkunenko		(as O. Shevkunenko)
Tatyana Yegorychyova		(as T. Yegorychyova)

Production Design by
Yevgeni Chernyayev
Ippolit Novoderyozhkin
Sergei Voronkov

Costume Design by
Maya Abar-Baranovskaya		(as M. Abar-Baranovskaya)
Lidiya Novi

Second Unit Director or Assistant Director
Bagrat Oganesyan	....	assistant director (as B. Oganesyan)

Sound Department
Inna Zelentsova	....	sound

Special Effects by
Pavel Safonov	....	special effects

Music Department
Vyacheslav Ovchinnikov	....	conductor

Production Companies

• Mosfilm

Distributors

• Columbia Pictures (1973) (USA) (theatrical) (subtitled)
• Asociace Ceských Filmových Klubu (ACFK) (19??) (Czech Republic) (theatrical)
• Sovexportfilm (19??) (Argentina) (theatrical)
• Svensk Filmindustri (SF) (1973) (Sweden) (theatrical)
• Artificial Eye (2002) (UK) (DVD)
• Continental Home Vídeo (Brazil) (DVD)
• Criterion Collection, The (1994) (USA) (video) (laserdisc)
• Criterion Collection, The (1999) (USA) (DVD)
• Empresa Hispanoamericana de Video (EHV) (19??) (Argentina) (VHS)
• Fox Lorber (1997) (USA) (VHS)
• General Video (2006) (Italy) (DVD)
• Moskwood Media (19??) (Netherlands) (VHS)
• Moskwood Media (2003) (Netherlands) (DVD)
• RUSCICO (2004) (worldwide) (DVD)
• Xenon Entertainment Group (1993) (USA) (VHS)

Other Companies

• Kinostudiya "Mosfilm"  production unit

Also Known As:

Андрей Рублёв (Soviet Union: Russian title)
Andrei Rublev (USA)
Strasti po Andreyu (Soviet Union: Russian title) (working title)
The Passion According to Saint Andrew (Europe: English title) (literal English translation of Russian working title)

Runtime:

Soviet Union:165 min (re-edited version) | Soviet Union:186 min (re-edited version) | UK:183 min (2004 re-release) | 205 min (original length) | UK:145 min (UK version)

Country:

Soviet Union

Language:

Russian | Italian | Tatar

Color:

Color (Sovcolor) | Black and White

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Portugal:M/12 | Australia:PG | Argentina:13 | Finland:K-16 | Sweden:15 | West Germany:12 | UK:12 (re-rating) (1991) | UK:15 (re-rating) (2004) | UK:AA (original rating) | Hong Kong:IIA | Iceland:16

Filming Locations:

Andronnikov Monastery, Moscow, Russia

Company:

Mosfilm

Trivia:

Theophanes the Greek (c. 1340 - c. 1410) was a Greek artist from Constantinople and one of the greatest icon painters of Russia, and was noted as the teacher and mentor of Andrei Rublyov.

Goofs:

Revealing mistakes: After Rublev comments that nothing is more terrible than snow falling in a temple, some of it lands on Durochka's hair and is clearly a white feather.

Quotes:

Kirill: Rejoice, O young man, in thy youth and the thy heart cheer thee in the days of thy youth. Walk in the ways of thine heart, and in the sight of thine eyes but know that for all these God will bring thee into judgment. Remember now thy Creator in the days of thy youth before the difficult days come and the years draw nigh when thou shalt say "I have no pleasure in them." Remember thy creator before the silver cord be loosed...

Movie Connections:

Referenced in "Mission Hill: Plan 9 from Mission Hill (or I Married a Gay Man from Outer Space) (#1.13)" (2002)

Arguably the greatest film ever.

Considering the great quantity of films in existence, there are very few that even come close to being considered the greatest of all time. Having seen my share of 'masterpieces' I have come to regard Andrei Rublev as the greatest of them all, although I admit that this is debatable. Nonetheless, this film seems to be stigmatized as being too long or boring - maybe because it's by Tarkovksy, or that it's black and white, or that it's Russian - I really don't know where this comes from. If you can get past any preconceived notions of what the movie is going to be like,and just sit down for a few seconds and watch it, you will probably be able to see from the beginning that this is an extremely important, unmissable film - not to mention captivating and exciting, although very dark and disturbing throughout. The amount of skill and thought, and work that went into this film echoes within the timeless imagery that the director has created. Any serious fan of the cinema would be doing themselves a serious disservice by avoiding this movie any longer. If you interested in the works of Gurdjieff and Ouspensky, you'll be able to take something of another level from this film, as there are many subtle references and parallels to their writings and teachings throughout this movie. It could be argued that the film itself is a cinematic representation of the law of three. Regardless, this is a truly extraordinary thing to behold.