The Sacrifice Page #6

Synopsis: Alexander, a journalist and former actor and philosopher, tells his little son how worried he is about the lack of spirituality of modern mankind. In the night of his birthday, the third world war breaks out. In his despair Alexander turns himself in a prayer to God, offering him everything to have the war not happen at all.
Genre: Drama
Director(s): Andrei Tarkovsky
Production: Argos Films
  Won 1 BAFTA Film Award. Another 7 wins & 2 nominations.
 
IMDB:
8.1
Rotten Tomatoes:
84%
PG
Year:
1986
149 min
5,937 Views


Something's wrong here

and I'm fed up with it.

Yes. You can forget about me,

and Martha, and the boy...

But Alexander is your friend!

He always will be.

But he needs you!

He has a wife to take care of him.

She ought to, anyway.

He has a family, a splendid house...

- and a son he adores.

- Fine and dandy!

Julia!

Fetch your mistress's jacket!

She's cold!

How thoughtful!

Little Man! Where is he?

Look, he's left this note.

What does it say?

"My dears, I've slept badly

this night. Please don't wake me.

Go and take a little walk.

The boy will show you his 'Japanese

tree' that we planted yesterday.

Or was it today?

I don't remember, it matters not.

I kiss you all.

I've taken my pills.

Forgive me, even now.

June 19, 1985.

Shall we take a walk

before the weather changes?

"Forgive me, even now"...

What did he mean by that?

And why the exact time?

Mama, you know how he is.

"How he is..."

I think his kindness

would be enough

to see us all through.

But he'll be around longer than that.

"How he is..."!

What did I say wrong?

Have you enough kindness for "him"?

All right, Victor.

But why must he be such a child?

Maybe I want to be a child as well!

We all want something.

I, for one, want to go to Australia.

Well, gather the ashes.

Put them in a glass,

fill it with wine, and drink it.

- Why?

- Don't ask me.

Someone said so.

If you do, you'll remember this

for the rest of your life.

Come, let's go.

Julia, come with us!

Fetch the boy and we'll go.

I had a dream recently.

I was walking the streets, begging.

When I woke, I cried and cried.

The boy's not there.

He's already gone out.

I think I know where.

To the Japanese tree?

He and the boy are just crazy

about Japan.

Why Japan?

First it's Australia, then Japan.

God, I can't take much more of this!

What about this morning?

I turned on his music...

But he didn't fancy

anything Japanese. He turned it off.

He says he and the boy

were Japanese in an earlier life.

I wish someone would tell him

what to make of this life.

Maybe that springs

from a deep inner need.

Maybe it's easier for him that way.

Why can't I find an easier way?

Can't you?

You seem to have

all sorts of schemes to that end.

But nothing quite so far-fetched

as Australia.

My God,

what is all that nonsense about?

Australia! It's absurd!

Flowers!

I don't understand.

What have I done with them?

Where are they?

Alexander!

What's happened?

I did it. Don't be upset!

Listen to me, Victor.

I've got something very impor...

No! Silence!

Say nothing! Ask nothing!

Come, Alexander!

You can't stay here!

Come, now.

Let him be!

What are you doing to him?

Don't touch him!

See you, Alexander!

"In the beginning was the Word."

Why is that, Papa?

This film is dedicated

to my son Andriosha

with hope and confidence

Andrei Tarkovsky

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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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