Stalker

Tarkovsky's direction for this film is nearly flawless.

The film mainly focuses on three characters and their basic goodness of each other. The photographic colors are brilliantly choreographed to the mood of character and viewer. The visionary landscapes are mesmerizing beautiful.

The survival techniques the characters in the film achieve is unlike anything I've seen in film. Much like Kubrick in terms of directive style and character study, Tarkovsky puts the viewer in a kaleidoscopic landscape of mood and emotion. No clichés here though. I have not read the story which the movie is based upon, but from what I understand the characters in the film all develop a healing understanding of each other.

That is when you know [as a viewer] that you will watch something unique and

exceptional. If you are into complex, psychological science fiction in the same vain of say {The Andromeda Strain, Solaris, 2001:a space odyssey} than you shall enjoy "Stalker".

Some have claimed that "Stalker" is not a science fiction film. I'd say it's more of a science fiction film than most of what Hollywood passes off as part of the genre, most of which are simply action films with a sci-fi bent. Stalker is science fiction in the vein of the genres greatest writers like Phillip K. Dick and Stanislaw Lem. It's pure science fiction, based on science, metaphysics and speculation, not some action fantasy or space opera that fits into the genre on the technicality that it takes place "in the future" or "a long, long time ago". The film is slow...very slow but it has to be to put you into the mindset of the film. After the opening 30 minutes the pacing actually draws you into the film in a more personal way more than any Cyborg-post-apocalyptic-hell crap Hollywood could spew out. This film is truly sci-fi, and truly great sci-fi.

The Region 2 Artificial Eye DVD includes interesting interviews with the cameraman and production designer. The production designer reveals that the film was completed only to be destroyed because it had been shot on experimental Kodak and couldn't be developed - a whole year's work was ruined. He proposes the possibility that the authorities of the time didn't want it to be developed. The incident nearly destroyed Tarkovsky. He was finally persuaded to go back and film a new Stalker, this time on a shoestring budget.

What does the film mean? Ask me again when I've watched it maybe ten times.

Certainly the Zone means more to Stalker than the Room. The Room is his living, but the Zone is an escape, a sanctuary from the noisy, industrial rusting slum where he lives (captured brilliantly in metallic sepia). In the Zone everything eventually returns to nature - like a pastoral coral reef growing on a battleship lichen and mosses engulf factory buildings and tanks. His first action on arriving there is to leave the other two occupied while he communes with the natural things growing in the zone, the grasses, the dew, the soil, the tiny worm that dances head-over-tail down his hand.

A beautiful, great and puzzling film. But then if it revealed all its secrets straight off then, apart from the beautiful visuals and the soundtrack it would be pointless watching it again. Great art only leaches out its secrets gradually and only to those with the desire to learn them.

The characters at the heart of Tarkovsky's "Stalker" are people who embark on an arduous journey only to discover that they had no idea what they wanted to gain from it. The central character is a "stalker," a man who makes a living by illegally escorting people through a restricted area to The Room, a place where their greatest wish will supposedly come true. Exactly why the area is restricted is never made perfectly clear; in the novel this film is partially based on, "The Roadside Picnic," it was a site where aliens briefly landed, and The Room was an object they left behind almost as if it were refuse. But Tarkovsky would rather not settle for such a flat explanation. To him, The Room is a place that means different things to the people who journey there, and the stark, ravished landscape they must journey through consists of the phobias and anxieties that they can hardly bear to face. The expedition the men experience is a long and often maddening one, and there are many scenes where the camera lingers on a beautifully composed shot so that the viewer can take time to understand how the characters fit into the settings and how those settings form both natural and supernatural obstacles.

Andrei Tarkovsky was an artist who did not like giving solid answers to the questions his films posed. He sculpted his stories so that viewers who had the patience and self-discipline to stay attentive all the way through could draw their own conclusions. If there is any specific meaning to "Stalker," it is that we have to fully understand anything for which we are willing to alter our lives.

Stalker (1979)***½ Stalker is rich, spiritual and contemplative journey through the fantastic inner world of human's hope, desire, disillusions and believes. Main characters, Writer (as incarnation of irrational, imaginative and emotional aspects of our nature or subconsciousness) and Scientist (rational, logic forces or consciousness) are guided by Stalker (symbolizing our desire, will and everlasting search of meaning) to the mysterious Zone (which may represent all our spiritual goals, meanings, struggles to achieve them and barriers in our path). Breathtaking and mesmerizing images and sounds, witty dialog and strong concept are the major virtues of this feature. Writer's monologues are among the most meaningful, thought-provoking and spiritual moments I ever experienced in any art. But the movie is overlong losing its powerful initial momentum and becoming inconsistent in it's final message (by final I don't mean last in chronology but overall). Tarkovsky's earlier SF drama "Solaris" is more structured and fully developed. Nevertheless, Stalker is an outstanding piece of art movie that puts its director among the few true cinema masters. Rating: 8.5/10