"Ivan's Childhood (1962)" Movie Review Essay & Film Analysis

Ivan before the war took place near a stream, where it grew willow
not know whose.
not know why they beat the creek,
This Ivanov was willow.
In his cape, who was killed in the battle,
Ivan returned under a willow tree.
Ivanova willow, willow
Ivanova,
As a white boat sails along the creek.
Arseny Tarkovsky, 1958
Rules
The fall occurs at the moment when you see yourself in the body. When you see yourself in the power of gravity, that after the free flight of subjective consciousness seems to be very unpleasant. Is not this what we see in the first scene? It can also be considered as a dream and as a moment before the fall, before the birth. After Ivan first run, then he takes off, laughing. Lands and meets mother after she died, and was waiting for him there. She gives him a pail of water. A rite of passage from one world to another is always associated with water, as in any religious system, as well as in the films of Tarkovsky is the law. Shots, Ivan goes down in boskhopodobny infernal world where death reigns. And there he finds himself, to cross the river. When he was asked how do you, answers "from the other side" and the same phrase, we can see both physically and metaphysically, and will win back a few times and each time work in allegorical form, expressing the idea is rather a stalker. Further, water as a developing theme conductor (off in the second sleep Ivan) Tarkovskiy uses a well, which acts as a door, a mirror of the movie "Mirror". Here we see one of the most amazing shots. We look at the bottom of the well to the mother and Ivan are on top, so we are still in the lower worlds, and the next frame is already looking down on his reflection, the transition took place, the bottom mirror world, we are again in nirvana. And so are the first twenty minutes of the film, like on a swing:. "To and fro" In frames Tarkovskiy already begins to build breygelevskogo composition with great densely crowded prospect that then develop a large scale in "Rublov". . The operator Vadim Yusov is generally a separate conversation huge, worthy of a study
Ivan
Jean-Paul Sartre, analyzing the film very accurately notices: "For this child there is no difference between day and night. In any case, he does not live with us. " He crossed the line beyond which the fear of death disappears, it really crosses some sort of line and is as it were between the worlds favorite creative space Tarkovsky, whose characters always painfully experiencing their borderline. This may explain the phenomenal memory and the location of enemy units on the ground. He lays out the seeds and sticks as a map, as if seen from above picture. That's what says about the main character Tarkovsky:
«Such a character close to me and interesting ... not in the developing, as it were a static character, passion voltage attains the maximum acuity and manifest more clearly and convincingly than in terms of gradual changes. By virtue of such preferences I like Fyodor Dostoyevsky. I'm more interested in the nature of the external static and internal stresses energy has mastered their passions »
Ivan can not get used to catastrophically broken world, agree with him as to time and place of its existence. The other characters are accustomed to picture what is happening. Ivan does not accept adult compromise with the war, which inevitably is subject to the ordinary person.
Eschatology
picture clearly I see the eschatological, ranging from the construction of the frame, finishing Dürer. Ivan finds a rider's death as a familiar figure, because she walks behind him throughout the film. Horrible scene of the meeting of Ivan with a man who lives in a house without walls, from my point of view, represents the Russian people, left without God, what else is confirmed by the scene where Ivan begins to beat the bell and martyr cries of the people stopped. I would not make such loud statements without knowing the passion for Dostoevsky Tarkovsky. Catastrophic worldview of the author tends to be a parable and preaching.
Wanting to love war counterpoint, the director, after the apocalyptic species, takes us to the birch, nice looking space. Love scene, he shows what should happen, against what is happening, maintaining the symmetry of the narrative.
Tarkovsky, like Ivan, rejecting compromise with the false reality, at least in the art world, he created. Hence accusatory pathos-preaching picture as a protest against those who agree with unnatural being "wrong" in the world. The right to such an accusation announces final. Here, the "wrong" reality in the form of "ebony" prevails, preventing the flight of Ivan in nirvana. This means, according to Tarkovsky, that the world is in trouble source.

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