Geige und Straßenwalze

My Rating : 7/10

Decent first film from one of the greatest film directors of all time.

While it isn't representative of Tarkovsky's philosophy of sculpting in time which he developed later on it's a very Soviet film culturally.

Sweet, ordinary and very accessible unlike the metaphysical, slow arthouse oeuvre to follow later from the great Russian maestro.

I consider myself fortunate that this was my first venture into Soviet cinema. The fact that this was director Tarkovsky's graduate student film makes it all the more remarkable.

With a minimalist approach to dialog, Tarkovsky relies on imagery to communicate emotions and feelings, and he does so well. It's still a period piece, with obvious salutes to the "Worker's Paradise" but this is not propaganda. Rather, it is a beautiful tale of a brief friendship. Two people from different worlds are borough together, and are torn apart due to circumstances beyond their control, but you get the impression that they'll be wealthier for the experience. Highly recommended! 10/10

A foreshadow of things to come, which in its own right is a little-known jewel of Russian and world cinema...I would advise any beginning Tarkosvskologist to view this film twice: before and after viewing his masterpieces. Then, they'll understand...

A gentle tale of a boy-violinist who is taunted by his peers and misunderstood by the predominantly female figures in his life (mother, music teacher, little girl-violinist), but introduced to the world of "manliness" by a chance encounter with a member of the working class. Both boy and man are enriched by the interchange, which crosses lines of class and age.

For fans of Tarkovsky, it is more revealing as a foretaste of visual images in the filmmaker's later work than of thematic development. But as a study of human psychology and an image of life in the former Soviet Union, it is a source of much to contemplate. Since the story line has certain gaps in it (the editing seems more image- than plot-oriented), however, it bears watching through twice (at 43 minutes, this is not a cumbersome task!)

Andrei Tarkovsky's school graduation project, the short film Katok i Skripka or Steamroller and the Violin (1960), by the words of Russian critic Maya Turovskaya, the first rate film, is promise of the things that would come so powerfully in his later films. The most important part of the little film was the joy of showing the beauty and poetry of the ordinary familiar things. The whole world of the film is saturated in colors, filled by myriads of playful solar spots, mirror reflections (yes, mirror - one of the favorite Tarkovsky's images is already presented here), patches of light on water, all living, pulsing, sparkling. Tarkovsky's camera man, the famous cinematographer Vadim Yusov recalls that the idea of the film came to young director after watching the French short film "Red Balloon" (1956) by Albert Lamorisse that ran successfully in the theaters at the time. "Red Balloon" defined the color palette of Tarkovsky's movie. The dominant color for Katok i Skripka was red mixed with yellow and compared to blue in the sky above and in the clothing of two main characters, the young boy playing violin and the grown up man, the driver of a steamroller, who had became his friend, even if for a short time.

I'd say that the first Tarkovsky's work is perhaps his most accessible, light, sweet, and warm - the terms we don't usually associate with the master of serious metaphysical, deeply philosophical, even cosmic films that lack conventional dramatic structure. I think it would be a good starting point for anyone interested in Tarkovsky's work. It is interesting to compare Katok i Skripka to Tarkovsky's next work, his first feature, astounding Ivanovo Detstvo (Ivan's Childhood), another film about a boy but completely different from Steamroller and the Violin.

For his diploma project, Andrei Tarkovsky won the first prize at the New York Student Film Festival in 1961.