Tutunamayanlar'ı okurken, ilk üç yüz sayfa kadar, Francois Couturier'ın Tarkovsky'nin sanatının ona çağrıştırdıklarını müzik aracılığı ile açığa vurduğu Tarkovsky Quartet' albümünü dinlemiştim. Bu parça da, albümün ilk parçasıdır. Lezizdir.
andrei tarkovsky etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
andrei tarkovsky etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
Francois Couturier - A celui qui a vu l'ange
Tutunamayanlar'ı okurken, ilk üç yüz sayfa kadar, Francois Couturier'ın Tarkovsky'nin sanatının ona çağrıştırdıklarını müzik aracılığı ile açığa vurduğu Tarkovsky Quartet' albümünü dinlemiştim. Bu parça da, albümün ilk parçasıdır. Lezizdir.
Tarkovsky's Choice: Top 10
In 1972 Andrei Tarkovsky told Leonid Kozlov about his favorite films. Tom Lasica recently talked with the critic.
I remember that wet,
grey day in April 1972 very well. We were sitting by an open window and
talking about various things when the conversation turned to Otar
Ioseliani's film Once Upon a Time There
Lived a Singing Blackbird.
"It's a good film," said Tarkovsky and immediately added, drawing out his words, "though it's, well, a little bit too... too..." He fell silent with the sentence half finished, his eyes screwed up. After a moment of intense reflection, he bit his fingernails and continued decisively, "No! No, it's a very good film!"
It was at this point that I asked Tarkovsky if he would compile a list of his favorite ten or so films. He took my proposition very seriously and for a few minutes sat deep in thought with his head bent over a piece of paper. Then he began to write down a list of directors' names - Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Antonioni, Vigo. One more, Dreyer, followed after a pause. Next he made a list of films and put them carefully in a numbered order. The list, it seemed, was ready, but suddenly and unexpectedly Tarkovsky added another title - City Lights.
This is the final version of the list he made:
Like the numerous top ten lists submitted by directors to various magazines over the years, Tarkovsky's list is highly revealing. Its main feature is the severity of its choice - with the exception of City Lights, it does not contain a single silent film or any from the 30s or 40s.
The reason for this is simply that Tarkovsky saw the cinema's first 50 years as a prelude to what he considered to be real film-making. And though he rated highly both Dovzhenko and Barnet, the complete absence of Soviet films from his list is perhaps indicative of the fact that he saw real film-making as something that went on elsewhere. When considering this point, one also needs to bear in mind the polemical attitude that Tarkovsky became imbued with through his experience as a film-maker in the Soviet Union.
For Tarkovsky, the question lay not in how beautiful a film-maker's art
can be, but in the heights that Art can reach. The director of Andrei
Rublov strove for the most profound
spiritual tension and extreme existential self-exposure in all his work
and was ready to reject anything and everything that was incompatible
with this end. His list, which includes three films by Bergman,
undoubtedly reflects his taste both as a director and as a viewer - but
the latter is subordinate to the former.
As the way he began to compile his top ten shows, this is not only a list of Tarkovsky's favorite films, but equally one of his favorite directors. Tarkovsky's and Bergman's "elective affinity" was noted long time ago, well before Sacrifice. But Bresson's film does not come top of the list by chance: Tarkovsky considered him to be a supreme creative individual. "Robert Bresson is for me an example of a real and genuine film-maker... He obeys only certain higher, objective laws of Art.... Bresson is the only person who remained himself and survived all the pressures brought by fame."
It would seem to me that the unexpected appearance of City Lights in the list can be explained similarly. What mattered most to Tarkovsky was not so much the film's cinematographic achievements or any philosophical points it made, but rather the comprehensive nature of Chaplin's self-realization as a director. "Chaplin is the only person to have gone down into cinematic history without any shadow of a doubt. The films he left behind can never grow old."
The essence of Tarkovsky's top ten films shows nothing less than his own manifesto for authorial film-making.
Source: Sight and Sound, March 1993, Volume 3, Issue 3.
*Tarkovsky hakkında yararlı bir site: http://people.ucalgary.ca/~tstronds/nostalghia.com/index.html
"It's a good film," said Tarkovsky and immediately added, drawing out his words, "though it's, well, a little bit too... too..." He fell silent with the sentence half finished, his eyes screwed up. After a moment of intense reflection, he bit his fingernails and continued decisively, "No! No, it's a very good film!"
It was at this point that I asked Tarkovsky if he would compile a list of his favorite ten or so films. He took my proposition very seriously and for a few minutes sat deep in thought with his head bent over a piece of paper. Then he began to write down a list of directors' names - Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Antonioni, Vigo. One more, Dreyer, followed after a pause. Next he made a list of films and put them carefully in a numbered order. The list, it seemed, was ready, but suddenly and unexpectedly Tarkovsky added another title - City Lights.
This is the final version of the list he made: - Le Journal d'un curé de campagne
- Winter Light
- Nazarin
- Wild Strawberries
- City Lights
- Ugetsu Monogatari
- Seven Samurai
- Persona
- Mouchette
- Woman of the Dunes (Teshigahara)
Like the numerous top ten lists submitted by directors to various magazines over the years, Tarkovsky's list is highly revealing. Its main feature is the severity of its choice - with the exception of City Lights, it does not contain a single silent film or any from the 30s or 40s.
The reason for this is simply that Tarkovsky saw the cinema's first 50 years as a prelude to what he considered to be real film-making. And though he rated highly both Dovzhenko and Barnet, the complete absence of Soviet films from his list is perhaps indicative of the fact that he saw real film-making as something that went on elsewhere. When considering this point, one also needs to bear in mind the polemical attitude that Tarkovsky became imbued with through his experience as a film-maker in the Soviet Union.
As the way he began to compile his top ten shows, this is not only a list of Tarkovsky's favorite films, but equally one of his favorite directors. Tarkovsky's and Bergman's "elective affinity" was noted long time ago, well before Sacrifice. But Bresson's film does not come top of the list by chance: Tarkovsky considered him to be a supreme creative individual. "Robert Bresson is for me an example of a real and genuine film-maker... He obeys only certain higher, objective laws of Art.... Bresson is the only person who remained himself and survived all the pressures brought by fame."
It would seem to me that the unexpected appearance of City Lights in the list can be explained similarly. What mattered most to Tarkovsky was not so much the film's cinematographic achievements or any philosophical points it made, but rather the comprehensive nature of Chaplin's self-realization as a director. "Chaplin is the only person to have gone down into cinematic history without any shadow of a doubt. The films he left behind can never grow old."
The essence of Tarkovsky's top ten films shows nothing less than his own manifesto for authorial film-making.
Source: Sight and Sound, March 1993, Volume 3, Issue 3.
*Tarkovsky hakkında yararlı bir site: http://people.ucalgary.ca/~tstronds/nostalghia.com/index.html
Sharunas Bartas - Praėjusios Dienos Atminimui
Sharunas Bartas, Avrupa'da az ama öz bir izleyici kitlesi edinmiş, Litvanya'dan çıkan önemli yönetmenlerin başında gelen bir isim. Bu yönetmeni keşfetmem, teknoloji ile arası olmayan bir sinefil dostumun bir gün benden Sharunas Bartas'ın filmlerini bulmamı rica etmesi ile oldu.
Hiçbir filmi Türkiye'de değil vizyon, festivalde bile gösterilme şansı bulmayan yönetmenin filmlerinde Tarkovsky'nin aşkınsallığına yakın anlar göze çarpıyor. Belki filmlerinde Tarkovsky kadar iyi mizansenlere, incelikle işlenmiş karakterlere rastlamıyoruz ama zaten Sharunas Bartas tam da bu noktada Tarkovsky ve diğer yönetmenlerden ayrılıyor. Bir çok insan Sharunas Bartas ve Tarkovsky arasında bir bağ kursa da, ben bu bağı göremiyorum. Eğer Bartas'ın ilham aldığını düşündüğüm tek bir yönetmen söylemem gerekirse, bu Bela Tarr olurdu. Geniş manzara planları, filmin geneline yayılmış ve filmin ruhu haline gelmiş uzun plan sekanslar, karakterlerin umutsuzca etrafa savrulup, bir anlam ya da kaçış umudu kırıntısı ile suskunca birbirlerine çarpıp, kaderin gerekliliğini yaşama serüvenleri Bartas'ın filmlerinde oldukça mistik bir hava ile ele alınıyor. Filmlerin gerçekçi tarafı var, hem de bu gerçekçi taraf çok ağır basıyor ama benim bahsettiğim mistik taraf, filmin 'kurulmuş' (inşaa edilmiş) saf sinemayı seyirciye hissettirmesi ile alakalı. Film bitince, geriye filmin kuruluğu değil, bıraktığı kekremsi, bir kere alışıldı mı bırakılması güç tadı kalıyor. Yönetmeni, diğer auteur yönetmenlerden ayırmamı sağlayan şey, bu belli belirsiz bıraktığı kekremsi tadın, betimlemesi güç atmosferin ardında yatan öznel ustalık.
İnternette bile bulunması zor filmlerinde, karakterlerden çok yarattığı mizansenlerin ve kamera hareketlerinin 'konuşmasını' sağlayan Bartas'ın sadece iki filmini izledim. Bunlar ise, bugüne kadar dokuz film çekmiş olan yönetmenin 1990 tarihli Praėjusios Dienos Atminimui ve 1991 tarihli Trys Dienos filmleriydi.
Trys Dienos, hayatın anlamsızlığına vurgu yapan konusu, az konuşan karakterleri ve ilk defa karşılaştığım minimalist tarzı ile dikkatimi çekti. Filmdeki ağır atmosferin sebebi biraz da anlamlandırılması, belirli bir kelime ile yaftalanması güç soyutluğunden geliyordu. Bu soyutluk aynı zamanda filmin şiirselliğinin de gizli temelini oluşturuyordu.
Praėjusios Dienos Atminimui ise savaş sonrası Litvanya'nın başkenti Vilnius'taki insanların yaşadığı, sarılması güç yaraların portresini ortaya koyan ve bence sinema tarihinde ulaşılması güç bir noktaya çıkan bir yapıt. Bartas yine içimize sessizce taş oturtan kendine has şiirsel üslubu ile o halkın yalnızlığını, izole olmuşluğunu ve çaresizce kendi rutin yaşamlarına devam etme çabalarını belgesele yakın bir şekilde anlatıyor. Böylesi bir atmosferi oluşturup, böylesi düzgünce aktarılması güç duyguları sinema sanatı aracılığı ile seyirciye geçirebilen film ve yönetmen sayısı çok azdır.
Avrupa'da bu diyalogsuz filmi ile adını duyuran Bartas'ın Koridorius ve Freedom filmleri de merak uyandırıyor. Özellikle de, siyah beyaz, sessiz bir film olan ve Sovyetlerin yıkılmasından sonraki Litvanya'yı konu alan, farklı bir film olduğu her halinden belli Koridorius'u merak ediyorum.
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