Andrei Rublev (1966)

The critic calls it a remarkable, beautifully photographed study of Rublev’s struggle to create art amid violence and hardship. They praise its striking set pieces while faulting some of Tarkovsky’s symbolism as impenetrable.

Cole praises the Criterion edition as a definitive reissue of Tarkovsky’s magisterial epic. He singles out its restored image and sound quality, along with the extensive bonus features.

Lane strongly recommends Tarkovsky’s film as an extraordinary, transporting work. He praises its vivid, elemental panorama of suffering and vitality, comparing its crowded landscapes to Bruegel.

The review calls the film one of the best Soviet works and praises its subtlety. It singles out Tarkovsky’s focus on Rublev’s humanity as the key to its convincing portrait of an artist.

The review finds the film difficult to follow but ultimately deeply moving. It praises the finale, when Rublev’s paintings emerge in colour, as wondrous.

The review presents the film as compelling and enduring, praising Tarkovsky’s majestic vision. It singles out the film’s lighter touches and striking images as what make it such compulsive viewing.

The blurb treats the film’s length and obscure subject as no reason to dismiss it, signaling an approving verdict. It singles out the prolonged sequence of a boy attempting to cast a giant bell.

The critic finds the film overlong and demanding, though visually gorgeous, innovative, and daring. He praises its striking imagery but complains that the DVD commentary explains too little about the film.

The critic finds the film demanding but ultimately rewarding, and says he would take it despite its uncompromising approach. He praises its compositions, camera movements, performances, cinematography, and the climactic montage of Rublev’s paintings.