Ivan's Childhood

Ivan's Childhood (in Russian : Иваново детство) is a film Soviet, the first feature film by Andrei Tarkovsky , released in 1962 , according to Ivan, a newVladimir Bogomolov , with Nikolai Burlyayev in the lead role.

Summary
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 * 1 Liminal
 * 2 History of Film
 * 3 Synopsis
 * 4 Data Sheet
 * 5 Distribution
 * 6 Analysis
 * 7 Comments Tarkovsky
 * 8 About the film
 * 9 Awards
 * 10 References
 * 11 External link

Keynote [ edit | edit the code ]
War film Soviet Ivan's Childhood, which could only be a work of propaganda, ad all the themes dear to Tarkovsky and foreshadows his future cinema search camera , dreamlike images, surreal vision reality that is added to the superimposed narrative of the story, contrast between the ideal of lost childhood and a cold, dehumanized world here symbolized by the war.

Historical film [ edit | edit the code ]
The film project was initially entrusted to director Edward Gaikovich Abalyan (Abalov as translations and transcriptions) dismissed mercilessly. The script was rewritten with Andrei Konchalovsky .

Contacted by the studios Mosfilm, Tarkovsky refused resume the project only on condition completely rewrite the script and change the entire team of technicians and actors. His conditions were accepted, but only if it is satisfied of the remaining half of the original budget, the director accepted in turn. Four dream sequences were added to the tragic adventure of Ivan, played by Nikolai Burlyayev . The names of the first two writers were preserved in the credits to facilitate acceptance of the new scenario. The filming was able to resume and ended in January 1962 .

Synopsis [ edit | edit the code ]
Orphan since the murder of his family by the Nazis, Ivan, 12, became a scout in the Soviet Army. Against the approval of his superiors, he accepts a final delicate mission.

Data Sheet [ edit | edit the code ]

 * Title: Ivan's Childhood
 * Original title: Иваново детство
 * Director: Andrei Tarkovsky
 * Screenplay: Vladimir Bogomolov and Mikhail Papava, according to the news of Vladimir Bogomolov
 * Production: Mosfilm ( USSR )
 * Photo: Vadim Yusov
 * Music: Vyacheslav Ovchinnikov , conducting by Emin Khachaturian
 * Editing: Ludmila Feyginova
 * Assistant Director: Georgi Natanson
 * Sound: Inna Zelentova
 * Military Adviser: G. Goncharov
 * Format: Black and white
 * Duration: 95 minutes
 * Genre: war movie
 * Released: May 1962

Distribution [ edit | edit the code ]

 * Valentin Zubkov : Captain Kholine
 * Nikolai Burlyayev Ivan
 * Yevgeni Zharikov : Lieutenant Galtsev
 * Stepan Krylov : Corporal Katasonov
 * Nikolai Grinko : Colonel Griaznov
 * V. Malgavina Macha
 * Irma Tarkovskaïa: Ivan's mother
 * Andrei Konchalovsky : a soldier

Analysis [ edit | edit the code ]
"Ivan's Childhood is part of the movie says" the thaw "where the focus is on individual destinies, where war," political errors "are essentially denounced as reducing of life, love, promises for the future. The ideological and patriotic motives fade; is essential humanistic dimension . »

Unlike many other visions Soviet , Andrei Tarkovsky "deviates from the community, and prefers the great fresco of the proven Russian people, a poetic and personal narrative. "As The Ballad of the soldier of Grigory Chukhray, three years earlier, "the first work of Tarkovsky is a character-driven film more archetypes, more well-meaning clichés . »

On this path, Tarkovsky is probably the one who "is as far ahead. Almost "dehistoricized" the war is only "condition" monstrous. It develops at Ivan, supporter twelve years old, whose mother was killed before his eyes, a spirit of vengeance, a superhéroïque tenacity that are nothing more than a cold madness, unable to live a human life ... "

If Jean-Paul Sartre, as a thinker of existentialism , said about Ivan's Childhood "In a sense, I think that the author [...] wanted to talk to him and his generation. [...] I would almost say: Here are the four hundred blows Soviets, but to better emphasize the differences. A child torn to pieces by his parents: Here bourgeois tragicomedy. Thousands of children destroyed, live, by war, this is a tragedy of Soviet . "He writes, too,further:" This boy, that one can not help loving, was forged by violence, he internalized ... "

Which therefore creates a "disorder" that indicates, again, Pierre Murat it is precisely this "duality hero / monster" found in children Ivan and explored by Vadim Yusov camera operator Tarkovsky. For Antoine de Baecque "While the child is being tarkovskien par excellence, the one that feels the world and do not think [...] It is primarily a place of sensitivity . "But precisely, he" is not just the sensitive brand, it is only heightened sensitivity, it has the monstrous. [...] His innocent mind is crossed by evil (Ivan mixes happy dreams - the four dreams of Ivan - [...] and death visions, murder and torture) as her innocent body ( the frail beauty of its vulnerable members marries scars that designate barbarism men in war): all the evil in the world is contained in its being . »

Tarkovsky away, so the cliché of the heroic adolescence, then in vogue in the Soviet cinema . Soviet film in the conventional undoubtedly subject (the Second World War and its consequences on childhood), Ivan's Childhood is not just "biographical handy reference tool or gender" : the child is high, here, to the rank of "poetic form." The work is already in so many ways, that of the author Tarkovsky, that of future achievements, "Monster, martyr and saint, Ivan saw that the state of pain. Tarkovsky this doleful piety. Saint monster and they embody the exposure of tarkovskien universe, "says A. Baecque .

Around the movie [ edit | edit the code ]

 * The first scene of Ivan's Childhood, Tarkovsky's first film shows a child near a tree ; the final scene of the Sacrifice, the last installment of the director, is the image of a little boy "lying in contemplation" under a tree "he watered his hope. There, he finds the word, a fragile word as the first word in the world pronounced by a living . " Antoine de Baecque wrote above: "The film regeneration film, is back to childhood. »
 * According to Georges Sadoul, Andrei Tarkovsky and its operator Vadim Yusov have great admiration for "the greatest lyric perhaps the screen, Dovzhenko . They held to include in their film "true cinematic quotation" of the Earth : a bunch of apples in the rain. Apples are one of their leitmotif that comes to eat a horse in an almost surreal sequence . »
 * During one scene, Ivan pages of a book of illustrations where one can see, among others, an engraving Dürer, German engineering, illustrating the Apocalypse of John : The Four Horsemen of the Apocalypse .

Awards [ edit | edit the code ]

 * Golden Lion at the Venice Film Festival in 1962 and seven international awards.