Ivan's Childhood (1962)
Directed by Andrei Tarkovsky
In WW2, twelve year old Soviet orphan Ivan Bondarev works for the Soviet army as a scout behind the German lines and strikes a friendship with three sympathetic Soviet officers.
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What critics compared Ivan's Childhood to
Although the most accessible of the director's four features, the drama sometimes waivers between pretension and profundity -- at best recalling the Russian art cinema of Andrei Tarkovsky ("Ivan's Childhood") and Aleksandr Sokurov ("Mother and Son").
The two white-clad preppies (Corbet and Pitt) take the trio (Roth, Watts, and little Gearhart, who bears an uncanny resemblance to the young Nikolai Burlyayev of Tarkovsky's 1962 Ivan's Childhood) hostage, subjecting them to a series of increasingly sadistic games, meant to culminate in the family's extermination.
The journey of a wide-eyed innocent across a fallen landscape is common territory for the war film, but like Kon Ichikawa's The Burmese Harp (1956) and even Andrei Tarkovsky's Ivan's Childhood (1962) Come and See enlivens and enriches the form (one of the dominants of Soviet cinema) through the iconoclasm and intensity of many of its images.
Solaris, like Tarkovsky’s previous two films, Ivan’s Childhood (1962) and Andrei Rublev (1966), was made in the Soviet Union at a time when artists had few freedoms.
This week the Castro Theatre shows a print of Solaris, and next week it screens Tarkovsky's other works: Stalker Jan. 3, Andrei Rublev Jan. 4-5, a double-bill of The Mirror and Ivan's Childhood Jan. 6-7, and his final film, The Sacrifice, Jan. 8. (Nostalgia is the only of his films not screening in the series.)
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“Mirroring Tarkovsky”, a massive retrospective of the work of the Russian director Andrei Tarkovsky, opens this month at the British Film Institute, with lectures and screenings of his significant films, from Ivan’s Childhoodto Andrei Rublev, Stalker,Solarisand Mirror.