Nostalgia Page #3

Synopsis: The Russian poet Andrei Gorchakov, accompanied by guide and translator Eugenia, is traveling through Italy researching the life of an 18th-century Russian composer. In an ancient spa town, he meets the lunatic Domenico, who years earlier had imprisoned his own family in his house for seven years to save them from the evils of the world. Seeing some deep truth in Domenico's act, Andrei becomes drawn to him. In a series of dreams, the poet's nostalgia for his homeland and his longing for his wife, his ambivalent feelings for Eugenia and Italy, and his sense of kinship with Domenico become intertwined.
Genre: Drama
Director(s): Andrei Tarkovsky
Production: Kino Lorber
  3 wins & 1 nomination.
 
IMDB:
8.2
Rotten Tomatoes:
89%
NOT RATED
Year:
1983
125 min
$5,233
4,337 Views


Angela, good girl

Are you glad?

About what?

About life

Yes

Good girl

Sight grows dim, my strength

is two occult, adamantine darts

Hearing weavers for my father's

house breathes distant thunder

The tissues of hard muscles weaken

like hoary oxen at the plough

and no longer when night falls

do two wings gleam behind me

During the party,

like a candle I wasted away

Gather up at dawn my melted wax

and read in it whom to mourn,

what to be proud of

How, by donating the last

portion of joy

to die lightly

and in the shelter

of a makeshift roof

to light up posthumously,

like a word

Why must I think of this?

I have enough worries

My God, why did I do it?

They're my children, my family,

my own flesh and blood

How could I?

Years without seeing the sun,

fearing the light of day!

Why?

Why this tragedy?

Lord, do you see how he's asking?

Say something to him

But what would happen

if He heard my voice?

Let Him feel your presence

I always do,

but He's not aware of it

I'll bring the car around

in 10 minutes

Mr. Gorchakov, phone call for you

For me?

Please wait

Hello?

It's Eugenia

How are you?

Fine

Guess why I called?

Your Domenico is here,

the lunatic from Bagno Vignoni

No, I know he's not mad

It was so you'd understand

He's here in Rome

for a demonstration

He's been making speeches

for 3 days

Come and say goodbye to him

I'm leaving, immediately

He keeps asking if you've done

what you were supposed to do

Of course

I'll tell him right away

Thank you

I'm glad we could say goodbye

I'm going away with Vittorio

We'll probably go to India

Vittorio's my man

he's from a distinguished

family in Orvieto

Good, Eugenia,

I wish you all the best

Same to you.

Say hello to Moscow for me

How are you keeping?

How's your heart?

I don't know,

I've reached the limit

I'm bored

I want to go home

Hello, Vittorio

I'm going to buy some cigarettes

I want to change my ticket,

I'm leaving in 2 days' time

What's happened?

Nothing

Can you drive me to Bagno Vignoni?

When?

-Now

I'll have to let Italy-USSR know

I wait, right?

-Right

Trust him not to leave today

What ancestor speaks in me?

I can't leave simultaneously

in my head and in my body

That's why I can't be just

one person

I can feel myself countless

things at once

There are no great masters left.

That's the real evil of our time

The heart's path is covered

in shadow

We must listen to the voices

that seem useless

In brains full of long sewage pipes

of school wall, tarmac

and welfare papers

the buzzing of insects must enter

We must fill the eyes

and ears of all of us

with things that are

the beginning of a great dream

Someone must shout that

we'll build the pyramids

It doesn't matter if we don't!

We must fuel that wish

and stretch the corners

of the soul

like an endless sheet

If you want the world

to go forward

we must hold hands

We must mix

the so-called healthy

with the so-called sick

You healthy ones!

What does your health mean?

The eyes of all mankind

are looking at the pit

into which we are plunging

Freedom is useless

if you don't have the courage

to look us in the eye

to eat, drink

and sleep with us!

It's the so-called healthy

who have brought the world

to the verge of ruin

Man, listen!

In you, water, fire

and then ashes

And the bones in the ashes

The bones and the ashes!

Wait for me in the car

Hello

Where am I when

I'm not in reality

or in my imagination?

Here's my new pact:

it must be sunny at night

and snowy in August

Great things end

small things endure

Society must become united again

instead of so disjointed

Just look at nature and

you'll see that life is simple

We must go back to where we were

to the point

where you took the wrong turn

We must go back

to the main foundations of life

without dirtying the water

What kind of world is this

if a madman tells you

you must be ashamed of yourselves!

Music now

Music!

I forgot this

O mother!

The air is that light thing

that moves around your head

and becomes clearer when you laugh

The music doesn't work!

Zoe! Zoe!

To the memory of my mother

Rate this script:2.8 / 12 votes

Andrei Tarkovsky

Andrei Arsenyevich Tarkovsky (Russian: Андре́й Арсе́ньевич Тарко́вский, IPA: [ɐnˈdrʲej ɐrˈsʲenʲjɪvʲɪtɕ tɐrˈkofskʲɪj]; 4 April 1932 – 29 December 1986) was a Russian filmmaker, writer, film editor, film theorist, theatre and opera director. Tarkovsky's films include Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). He directed the first five of his seven feature films in the Soviet Union; his last two films, Nostalghia (1983) and The Sacrifice (1986), were produced in Italy and Sweden, respectively. His work is characterized by long takes, unconventional dramatic structure, distinctly authored use of cinematography, and spiritual and metaphysical themes. Tarkovsky's works Andrei Rublev, Solaris, Mirror, and Stalker are regularly listed among the greatest films of all time. His contribution to cinema was so influential that works done in a similar way are described as Tarkovskian. Ingmar Bergman said of him: Tarkovsky for me is the greatest (director), the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream. Contrarily, however, Bergman conceded the truth in the claim made by a critic who wrote that "with Autumn Sonata Bergman does Bergman", adding, "Tarkovsky began to make Tarkovsky films, and that Fellini began to make Fellini films [...] Buñuel nearly always made Buñuel films." more…

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Submitted on August 05, 2018

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