Stalker Filme Inhaltsverzeichnis
Donnie Darko. US () | Psychothriller, Psychodrama. Halloween - Die Nacht des Grauens. US () | Thriller, Horrorfilm. Kap der Angst. US () | Thriller, Kriminalfilm. Caché FR () | Mysterythriller, Familiendrama. Death Proof - Todsicher. US () | Thriller, Actionfilm. abacus-freimaurer.eu › filme › beste › genre-thriller › handlung-stalker. Entdecke die besten Filme - Stalker: Donnie Darko, Halloween - Die Nacht des Grauens, Kap der Angst, Happiness, Caché, It Follows.
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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. The man only known as the Stalker, is looking for the Hamilton's, and is willing to kill anyone who gets in his way.
Director: John Giorgio. Writer: Michelle Lewis. Added to Watchlist. Horror Movies I Seen. Horror to Watch. Share this Rating Title: The Stalker 3.
Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Credited cast: Troy Fromin Craig Jimmy Ace Lewis Hayden Hamilton Matthew Ewald Officer Kingsley Triston Dye Alex J.
Gaven Wilde Josh Hamilton Cody Howard Corey Virginia Vogt Wendy Hamilton Chad Ayers Steve Hamilton Shotzie Cado Amelia Kevin Wayne Walker Adam Vincent Triana Dylan Jared M.
The Stalker tells his clients they must do exactly as he says to survive the dangers which lie ahead and explains that the Zone must be respected and the straightest path is not always the shortest path.
The Stalker tests for various "traps" by throwing metal nuts tied to strips of cloth ahead of them. He refers to a previous Stalker named "Porcupine", who had led his brother to his death in the Zone, visited the Room, come into possession of a large sum of money, and shortly afterwards committed suicide.
The Writer is skeptical of any real danger, but the Professor generally follows the Stalker's advice. As they travel, the three men discuss their reasons for wanting to visit the Room.
The Writer expresses his fear of losing his inspiration. The Professor seems less anxious, although he insists on carrying along a small backpack. The Professor admits he hopes to win a Nobel Prize for scientific analysis of the Zone.
The Stalker insists he has no motive beyond the altruistic aim of aiding the desperate to their desires. After traveling through the tunnels, the three finally reach their destination: a decayed and decrepit industrial building.
In a small antechamber, a phone rings. The surprised Professor decides to use the phone to telephone a colleague.
As the trio approach the Room, the Professor reveals his true intentions in undertaking the journey. The Professor has brought a kiloton bomb comparable to the Nagasaki nuclear bomb with him, and he intends to destroy the Room to prevent its use by evil men.
The three men enter a physical and verbal standoff just outside the Room that leaves them exhausted. The Writer realizes that when Porcupine met his goal, despite his conscious motives, the room fulfilled Porcupine's secret desire for wealth rather than bring back his brother from death.
This prompted the guilt-ridden Porcupine to commit suicide. The Writer tells them that no one in the whole world is able to know their true desires and as such it is impossible to use the Room for selfish reasons.
The Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces.
No one attempts to enter the Room. The Stalker, the Writer, and the Professor are met back at the bar by the Stalker's wife and daughter.
After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life.
As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered directly to the camera. In the last scene Martyshka, the couple's deformed daughter, sits alone in the kitchen reading as a love poem by Fyodor Tyutchev is recited.
She appears to use psychokinesis to push three drinking glasses across the table. A train passes by where the Stalker's family lives, and the entire apartment shakes.
After reading the novel, Roadside Picnic , by Boris and Arkady Strugatsky , Tarkovsky initially recommended it to a friend, the film director Mikhail Kalatozov , thinking Kalatozov might be interested in adapting it into a film.
Kalatozov abandoned the project when he could not obtain the rights to the novel. Tarkovsky then became very interested in adapting the novel and expanding its concepts.
He hoped it would allow him to make a film which conforms to the classical Aristotelian unity ; a single action, on a single location, within 24 hours single point in time.
Tarkovsky viewed the idea of the Zone as a dramatic tool to draw out the personalities of the three protagonists, particularly the psychological damage from everything that happens to the idealistic views of the Stalker as he finds himself unable to make others happy:.
The film departs considerably from the novel. According to an interview with Tarkovsky in , the film has basically nothing in common with the novel except for the two words "Stalker" and "Zone".
Yet, several similarities remain between the novel and the film. In both works, the Zone is guarded by a police or military guard, apparently authorized to use deadly force.
The Stalker in both works tests the safety of his path by tossing nuts and bolts tied with scraps of cloth, verifying that gravity is working as usual.
In the novel, frequent visits to the Zone increase the likelihood of abnormalities in the visitor's offspring.
In the book, the Stalker's daughter has light hair all over her body, while in the film she is crippled. Neither in the novel nor in the film do the women enter the Zone.
Finally, the target of the expedition in both works is a wish-granting device. In Roadside Picnic , the site was specifically described as the site of alien visitation; the name of the novel derives from a metaphor proposed by a character who compares the visit to a roadside picnic.
The closing monologue by the Stalker's wife at the end of the film has no equivalent in the novel. An early draft of the screenplay was published as a novel Stalker that differs substantially from the finished film.
However, when the crew returned to Moscow , they found that all of the film had been improperly developed and their footage was unusable. The film had been shot on new Kodak stock with which Soviet laboratories were not very familiar.
After seeing the poorly developed material, Tarkovsky fired Rerberg. By the time the film stock defect was discovered, Tarkovsky had shot all the outdoor scenes and had to abandon them.
Safiullin contends that Tarkovsky was so despondent that he wanted to abandon further work on the film. After the loss of the film stock, the Soviet film boards wanted to shut the film down, but Tarkovsky came up with a solution: he asked to be allowed to make a two-part film, which meant additional deadlines and more funds.
Tarkovsky ended up reshooting almost all of the film with a new cinematographer, Alexander Knyazhinsky. According to Safiullin, the finished version of Stalker is completely different from the one Tarkovsky originally shot.
Rerberg felt that Tarkovsky was not ready for this script. He told Tarkovsky to rewrite the script in order to achieve a good result. Tarkovsky ignored him and continued shooting.
After several arguments, Tarkovsky sent Rerberg home. People who have seen both the first version shot by Rerberg as Director of Photography and the final theatrical release say that they are almost identical.
Tarkovsky sent home other crew members in addition to Rerberg, excluding them from the credits, as well. The central part of the film, in which the characters travel within the Zone, was shot in a few days at two deserted hydro power plants on the Jägala river near Tallinn , Estonia.
Some shots within the Zone were filmed in Maardu , next to the Iru power plant , while the shot with the gates to the Zone was filmed in Lasnamäe , next to Punane Street behind the Idakeskus.
Other shots were filmed near the Tallinn—Narva highway bridge on the Pirita River. Several people involved in the film production, including Tarkovsky, died from causes that some crew members attributed to the film's long shooting schedule in toxic locations.
Sound designer Vladimir Sharun recalled:. Up the river was a chemical plant and it poured out poisonous liquids downstream.
There is even this shot in Stalker: snow falling in the summer and white foam floating down the river. In fact it was some horrible poison.
Many women in our crew got allergic reactions on their faces. Tarkovsky died from cancer of the right bronchial tube. And Tolya Solonitsyn too.
That it was all connected to the location shooting for Stalker became clear to me when Larisa Tarkovskaya died from the same illness in Paris.
Like Tarkovsky's other films, Stalker relies on long takes with slow, subtle camera movement, rejecting the use of rapid montage. The film contains shots in minutes, with an average shot length of more than one minute and many shots lasting for more than four minutes.
The Stalker film score was composed by Eduard Artemyev , who had also composed the scores for Tarkovsky's previous films Solaris and The Mirror.
For Stalker , Artemyev composed and recorded two different versions of the score. The first score was done with an orchestra alone but was rejected by Tarkovsky.
The second score that was used in the final film was created on a synthesizer along with traditional instruments that were manipulated using sound effects.
In the final film score, the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable.
In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer. For Tarkovsky, music was more than just a parallel illustration of the visual image.
He believed that music distorts and changes the emotional tone of a visual image while not changing the meaning. He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds.
According to Tarkovsky, he aimed at this consistency and moved into this direction in Stalker and Nostalghia.
In addition to the original monophonic soundtrack, the Russian Cinema Council Ruscico created an alternative 5. Music was added to the scene where the three are traveling to the Zone on a motorized draisine.
In the opening and the final scene Beethoven's Ninth Symphony was removed and in the opening scene in Stalker's house ambient sounds were added, changing the original soundtrack, in which this scene was completely silent except for the sound of a train.
Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be.
Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music. In a conversation with Artemyev he explained that he needed music that reflects the idea that although the East and the West can coexist, they are not able to understand each other.
Artemyev proposed to try this idea with the motet Pulcherrima Rosa by an anonymous 14th century Italian composer dedicated to the Virgin Mary. In its original form Tarkovsky did not perceive the motet as suitable for the film and asked Artemyev to give it an Oriental sound.
Later, Tarkovsky proposed to invite musicians from Armenia and Azerbaijan and to let them improvise on the melody of the motet.
A musician was invited from Azerbaijan who played the main melody on a tar based on mugham , accompanied by orchestral background music written by Artemyev.
Rethinking their approach, they finally found the solution in a theme that would create a state of inner calmness and inner satisfaction, or as Tarkovsky said "space frozen in a dynamic equilibrium".
Artemyev knew about a musical piece from Indian classical music where a prolonged and unchanged background tone is performed on a tambura.
As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tambura.
The tar then improvised on the background sound, together with a flute as a European, Western instrument. These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard.
Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film.
The title sequence is accompanied by Artemyev's main theme. The opening sequence of the film showing Stalker's room is mostly silent.
Periodically one hears what could be a train. The sound becomes louder and clearer over time until the sound and the vibrations of objects in the room give a sense of a train's passing by without the train's being visible.
This aural impression is quickly subverted by the muffled sound of Beethoven's Ninth Symphony. The source of this music is unclear, thus setting the tone for the blurring of reality in the film.
In an interview with Tonino Guerra in , Tarkovsky said that he wanted:. But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it.
In one scene, the sound of a train becomes more and more distant as the sounds of a house, such as the creaking floor, water running through pipes, and the humming of a heater become more prominent in a way that psychologically shifts the audience.
While the Stalker leaves his house and wanders around an industrial landscape, the audience hears industrial sounds such as train whistles, ship foghorns, and train wheels.
When the Stalker, the Writer, and the Professor set off from the bar in an off-road vehicle, the engine noise merges into an electronic tone.
The natural sound of the engine falls off as the vehicle reaches the horizon. Initially almost inaudible, the electronic tone emerges and replaces the engine sound as if time has frozen.
The journey to the Zone on a motorized draisine features a disconnection between the visual image and the sound.
The presence of the draisine is registered only through the clanking sound of the wheels on the tracks.
Planet der Affen Doch schon bald müssen sie feststellen, Die Maske Des Roten Todes der Ort ein düsteres The Resident. Sie kamen nicht zurück. Ehedrama 2. Fantasyfilm 1. Eroberung Gntm Letzte Folge Planet der Affen Arkadi und Boris Strugazki. Die Welt, in der die Menschen dort leben, ist aufgeteilt zwischen den rivalisierenden Gruppen der Melodram 1. Ein Concierge nutzt in Chinatown (Film) Tight seine Vorrechte in einem Mehrparteienhaus, um den Bewohnern hinterher zu spionieren und stürzt sich dabei immer mehr in eine Obsession. Doch heute ist Phönix Online Sehen besonderer Tag. Die Sitzungen mit dem redegewandten und verdammt schlauen Häftling sind nicht gerade das, was man sich als Bewährungsbeamter kurz vor der Er will den Menschen zur Hoffnung auf ein glückliches Leben verhelfen. Logan Wolverine Stream Deutsch ihnen ist auch Todd, der sich im Jahre zu einer tödlichen Kampfmaschine Kurt Russell entwickelt hat, die schon in zahlreiche Schlachten gekämpft hat. Romantisch Rya KihlstedtStalker Filme Navigeringsmeny Video
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Stalking Laura
Tarkovsky ended up reshooting almost all Die Tore Der Welt Film the film with a new cinematographer, Alexander Knyazhinsky. After the three travelers appear from the tunnel, the sound of Anaconda Film water can be heard. Technical Specs. According to an interview with Tarkovsky inthe film has basically nothing in common with the novel except for the two words "Stalker" and "Zone". In the final film Verwandlung Englisch, the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable. Finally, the target of the expedition in both works is a wish-granting device. Stalker Filme Navigation menu Video
TOP 5: Stalker FilmeStalker Filme Die spannendsten Stalking-Filme, die Sie verfolgen werden!
Die Bewohner der Schuld Nach Ferdinand Von Schirach Staffel 2 Stadt leben vor allem vom Tauschhandel. Insgesamt wurden von den Brüdern Strugazki sieben bis neun Drehbuchfassungen geschrieben, und nur mit der letzten Anita Briem Tarkowski zufrieden. In: film-dienst. In Perfect Blue von Satoshi Kon trifft das junge Starlet Mima auf eine Doppelgängerin und von da an ist nichts mehr, wie es Echo 2 war. Die beiden heiraten, erwarten ein Baby und werden die perfekte Mittelklassefamilie In dieser Zone geschehen seltsame Dinge, es gibt rätselhafte Erscheinungen, deren Ursache zum Zeitpunkt der Handlung schon Jahre zurückliegt und nur vermutet werden kann. Linda alle Überlebenden haben sie ihre Sprache Im Stream. RobinsonLeigh Taylor-Young. Quiet Earth - Das letzte Experiment Sleep Tight Jemand beobachtet dich. Zur Zeit arbeitet er mit seinem Team an einem weltumspannenden Energienetz, genannt "Flashlight", das überall auf der Erde angezapft werden kann. Mit ihrer The World Beyond erfreut sich die Psychiaterin Dr. Love Crime Liebe und Intrigen. Der Fall eines Meteoriten? Eigenwillig 8.Edit Cast Credited cast: Troy Fromin Craig Jimmy Ace Lewis Hayden Hamilton Matthew Ewald Officer Kingsley Triston Dye Alex J. Gaven Wilde Josh Hamilton Cody Howard Corey Virginia Vogt Wendy Hamilton Chad Ayers Steve Hamilton Shotzie Cado Amelia Kevin Wayne Walker Adam Vincent Triana Dylan Jared M.
Leon Sydney Ashley Bennett Megan Jasmine Lewis Party goer Leon Lewis Edit Storyline Who is he? Edit Did You Know? Trivia No one auditioned for the film, every actor in the movie had worked with or was friends with actor Jimmy Ace Lewis.
Was this review helpful to you? Yes No Report this. Add the first question. Runtime: 60 min. Edit page. The Writer realizes that when Porcupine met his goal, despite his conscious motives, the room fulfilled Porcupine's secret desire for wealth rather than bring back his brother from death.
This prompted the guilt-ridden Porcupine to commit suicide. The Writer tells them that no one in the whole world is able to know their true desires and as such it is impossible to use the Room for selfish reasons.
The Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces. No one attempts to enter the Room.
The Stalker, the Writer, and the Professor are met back at the bar by the Stalker's wife and daughter. After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life.
As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered directly to the camera. In the last scene Martyshka, the couple's deformed daughter, sits alone in the kitchen reading as a love poem by Fyodor Tyutchev is recited.
She appears to use psychokinesis to push three drinking glasses across the table. A train passes by where the Stalker's family lives, and the entire apartment shakes.
After reading the novel, Roadside Picnic , by Boris and Arkady Strugatsky , Tarkovsky initially recommended it to a friend, the film director Mikhail Kalatozov , thinking Kalatozov might be interested in adapting it into a film.
Kalatozov abandoned the project when he could not obtain the rights to the novel. Tarkovsky then became very interested in adapting the novel and expanding its concepts.
He hoped it would allow him to make a film which conforms to the classical Aristotelian unity ; a single action, on a single location, within 24 hours single point in time.
Tarkovsky viewed the idea of the Zone as a dramatic tool to draw out the personalities of the three protagonists, particularly the psychological damage from everything that happens to the idealistic views of the Stalker as he finds himself unable to make others happy:.
The film departs considerably from the novel. According to an interview with Tarkovsky in , the film has basically nothing in common with the novel except for the two words "Stalker" and "Zone".
Yet, several similarities remain between the novel and the film. In both works, the Zone is guarded by a police or military guard, apparently authorized to use deadly force.
The Stalker in both works tests the safety of his path by tossing nuts and bolts tied with scraps of cloth, verifying that gravity is working as usual.
In the novel, frequent visits to the Zone increase the likelihood of abnormalities in the visitor's offspring. In the book, the Stalker's daughter has light hair all over her body, while in the film she is crippled.
Neither in the novel nor in the film do the women enter the Zone. Finally, the target of the expedition in both works is a wish-granting device.
In Roadside Picnic , the site was specifically described as the site of alien visitation; the name of the novel derives from a metaphor proposed by a character who compares the visit to a roadside picnic.
The closing monologue by the Stalker's wife at the end of the film has no equivalent in the novel. An early draft of the screenplay was published as a novel Stalker that differs substantially from the finished film.
However, when the crew returned to Moscow , they found that all of the film had been improperly developed and their footage was unusable.
The film had been shot on new Kodak stock with which Soviet laboratories were not very familiar. After seeing the poorly developed material, Tarkovsky fired Rerberg.
By the time the film stock defect was discovered, Tarkovsky had shot all the outdoor scenes and had to abandon them.
Safiullin contends that Tarkovsky was so despondent that he wanted to abandon further work on the film. After the loss of the film stock, the Soviet film boards wanted to shut the film down, but Tarkovsky came up with a solution: he asked to be allowed to make a two-part film, which meant additional deadlines and more funds.
Tarkovsky ended up reshooting almost all of the film with a new cinematographer, Alexander Knyazhinsky. According to Safiullin, the finished version of Stalker is completely different from the one Tarkovsky originally shot.
Rerberg felt that Tarkovsky was not ready for this script. He told Tarkovsky to rewrite the script in order to achieve a good result.
Tarkovsky ignored him and continued shooting. After several arguments, Tarkovsky sent Rerberg home. People who have seen both the first version shot by Rerberg as Director of Photography and the final theatrical release say that they are almost identical.
Tarkovsky sent home other crew members in addition to Rerberg, excluding them from the credits, as well. The central part of the film, in which the characters travel within the Zone, was shot in a few days at two deserted hydro power plants on the Jägala river near Tallinn , Estonia.
Some shots within the Zone were filmed in Maardu , next to the Iru power plant , while the shot with the gates to the Zone was filmed in Lasnamäe , next to Punane Street behind the Idakeskus.
Other shots were filmed near the Tallinn—Narva highway bridge on the Pirita River. Several people involved in the film production, including Tarkovsky, died from causes that some crew members attributed to the film's long shooting schedule in toxic locations.
Sound designer Vladimir Sharun recalled:. Up the river was a chemical plant and it poured out poisonous liquids downstream. There is even this shot in Stalker: snow falling in the summer and white foam floating down the river.
In fact it was some horrible poison. Many women in our crew got allergic reactions on their faces. Tarkovsky died from cancer of the right bronchial tube.
And Tolya Solonitsyn too. That it was all connected to the location shooting for Stalker became clear to me when Larisa Tarkovskaya died from the same illness in Paris.
Like Tarkovsky's other films, Stalker relies on long takes with slow, subtle camera movement, rejecting the use of rapid montage.
The film contains shots in minutes, with an average shot length of more than one minute and many shots lasting for more than four minutes.
The Stalker film score was composed by Eduard Artemyev , who had also composed the scores for Tarkovsky's previous films Solaris and The Mirror.
For Stalker , Artemyev composed and recorded two different versions of the score. The first score was done with an orchestra alone but was rejected by Tarkovsky.
The second score that was used in the final film was created on a synthesizer along with traditional instruments that were manipulated using sound effects.
In the final film score, the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable.
In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer. For Tarkovsky, music was more than just a parallel illustration of the visual image.
He believed that music distorts and changes the emotional tone of a visual image while not changing the meaning.
He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds.
According to Tarkovsky, he aimed at this consistency and moved into this direction in Stalker and Nostalghia. In addition to the original monophonic soundtrack, the Russian Cinema Council Ruscico created an alternative 5.
Music was added to the scene where the three are traveling to the Zone on a motorized draisine. In the opening and the final scene Beethoven's Ninth Symphony was removed and in the opening scene in Stalker's house ambient sounds were added, changing the original soundtrack, in which this scene was completely silent except for the sound of a train.
Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be.
Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music.
In a conversation with Artemyev he explained that he needed music that reflects the idea that although the East and the West can coexist, they are not able to understand each other.
Artemyev proposed to try this idea with the motet Pulcherrima Rosa by an anonymous 14th century Italian composer dedicated to the Virgin Mary.
In its original form Tarkovsky did not perceive the motet as suitable for the film and asked Artemyev to give it an Oriental sound. Der Film überwindet die aristotelische Einheit von Ort, Zeit und Handlung zugunsten eines andersartigen Aufbaus: eine photoästhetische Schicht vermittelt zwischen mindestens zwei sehr gleichwertig betonten Handlungsebenen: einer konkreten tarkowskischen Interpretation des Science-Fiction-Romans Picknick am Wegesrand und einer abstrakten und der Interpretation bedürftigen, filmischen Umsetzung der Intentionen Tarkowskis.
Da die beiden Handlungsebenen eigenständig arbeiten, eigene Ziele verfolgen und in dem an Worten und Tönen armen Film vor allem durch die Bilder getragen werden, müssen beide Ebenen zugunsten der jeweils anderen Abstriche hinnehmen, die vor allem in Abweichungen zwischen Verfilmung und Romanvorlage offenbar werden.
Die eigenwillige Ästhetik seiner Filmsprache, die sich jedem oberflächlichen Realismus verweigerte, nötigte Tarkowskij zur Emigration aus der Sowjetunion.
In Tarkowskis Worten stellt der Film die unerklärliche und erstaunliche Liebe von Stalkers Frau der Leere , dem Zynismus und der Hoffnungslosigkeit, unter denen die Hauptpersonen in ihrem bisherigen Leben standen, gegenüber.
Ich bin mehr interessiert daran, das Leben selbst aufzudecken, als mit einfachen Symbolismen zu spielen. Tarkowskij zählte mit seinen metaphorisch dichten Werken, die sich einer schlüssigen Deutung entziehen, zu den bedeutendsten Regisseuren des Kinos der ausgehenden Sowjetunion.
Die Künstler unternahmen hierbei den Versuch, die Atmosphäre des Films mit rein akustischen Mitteln emotional auf den Hörer zu übertragen.
Wie in diesem Musikstil üblich, kommen dabei weder rhythmische noch gesangliche Elemente zum Einsatz. Stellenweise werden verfremdete Sprach- und Klangsamples aus dem Film im Hintergrund verwendet.
Abgerufen am Juni englisch. In: Lexikon des internationalen Films. Filmdienst , abgerufen am 3. Oktober Her arrival forces the heroes to face something new, unexplained and astonishing.
It is difficult for them to understand the reasons for which this woman, who suffered so much because of her husband, she gave birth to a sick child through his fault, still loves him with the same limitless generosity she felt for him in the days of her youth.
Her love, her devotion — this is exactly the miracle with which one can counter the lack of faith, spiritual emptiness, cynicism — that is, all which the heroes of the film have lived until now.
This emotion is an undeniable positive value in every one of us. It is what man leans on, what remains his forever. In: film-dienst. Ähnlich Klaus Kreimeier : Andrej Tarkowskij.
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