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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on DVDs: Ivan’s Childhood

PICK OF THE WEEK: CLASSIC
IVAN’S CHILDHOOD  (Blu-ray) (Four Stars)

(U.S.S.R.: Andrei Tarkovsky, 1962  (Criterion Collection)

 

Andrei Tarkovsky’s first feature film, the magnificent Ivan’s Childhood (1962), started one of the cinema’s most uncompromising and brilliant directorial careers. This astonishing picture, a critical hit almost from its first screenings, won the Venice Film Festival’s top prize, the Golden Lion, and established the 30-year-old Tarkovsky as a major  international art film creator. It’s still a dazzler and a shocker, an anti-war film of jolting intensity, piercing emotion and shimmering lyricism. Called My Name is Ivan (at first) in the U.S.,  it’s the nightmarish tale of a 12-year-old boy, Ivan  (played by 14–year-old Nikolai Burlyaev) who lost his entire family to the Nazi invaders, and now acts as a scout for the Russian partisans, working with the sympathetic Captain Kholin (Valentin Zubkov) and the Soviet Army on dangerous missions — forays into enemy territory. This is the account of the pivotal two days in Ivan’s life.

 

Ivan’s Childhood is not only one of the best of the ’50’s-’60s revisionist Russian war movies — a grouop that included The Cranes are Flying, Ballad of a Soldier, and Fate of a Man — and one of   Tarkovsky’s best pictures, it is the precursor of much that followed in his remarkable career.  Ivan is  his most popular and accessible film, and the one that was most universally acclaimed during his lifetime — despite the fact that it is not necessarily typical of this great, stubborn, obsessive, poetic Russian artist. There are scenes of romantic birch forests and eerie battlegrounds lit with flares and explosions, images as beautiful and haunting as any Tarkovsky later made in gems like the 1966 Andrei Roublev or the 1975 The Mirror. But Ivan’s very accessibility, the fact that it connected so immediately with world audiences, is what sets it apart from his offbeat masterpieces to come: films like Roublev, Solaris, The Mirror and The Sacrifice.

The young director of Ivan was strongly influenced by the camera virtuosity and visual coups of director Mikhail Kalatozov and cinematographer Sergei Urusevsky in their 1957 classic The Cranes are Flying and their poetic 1959 epic Letter Never Sent, but Tarkovsky went even further. Working from original author Vladimir Bogomolov’s script of his popular novella, and collaborating on the final writing with his film school buddy Andrei Mikhalkov-Konchalovsky (the screenwriter of Andrei Roublev, the writer-director of “Siberiade,” and a cineaste who made it to Hollywood in the ‘80s), Tarkovsky crafted, in the gorgeous, terrifying Ivan’s Childhood, a film of passion, terror and aesthetic bliss.

We remember  young Ivan’s face as we remember the faces of the two tragic friends in Shoeshine, of the street kids in Rome: Open City, of the little boy in Bicycle Thieves — of all art film children caught in the crucibles of war and social injustice. Tarkovsky’s portrait of innocence ravaged by war has never lost its force and grace.

Extras: Video appreciation by Vida T. Johnson; interviews with actor Burlyaev and cinematographer Vadim Yusov: Booklet with essays on Ivan’s Childhood by Diana Iordanova and  Tarkovsky, and a poem, “Ivan’s Willow,” by Andrei’s father, Arseny Tarkovsky.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas