Offret

This is a mind-blowing film that is very hard to say something about but I will try my best:

First of all I would like to write something about the cinematography.Sven Nykvist is of course one of the best cinematographer´s of all times and this film is so fantastic beautifully filmed.I must say that I got lost in the film sometimes and did not understood what was going on but still I tried.The best in the film is before the "war" has started.A very dark allegory over the society.

I think it´s good-but still very though and hard to understand-and I recommend it but only for people who can see this sort of things.I actually got a bit depressed of this film.

It´s very hard to describe "The Sacrifice" and I have tried my best but you must see it for yourself to understand and maybe appreciate it.

This last film by the great Tarkovsky and seen as an article of pure faith by many, suffered from production problems, the largest being a camera jamming which resulted in the cast and crew pulling together to rebuild a set so that the film could be completed. Tarkovsky had suffered worse, not least the loss of an entire film due to a lab fault back in Russia. His chief problem was adjusting to the more formal structure of crewing in the west as opposed to the freedom afforded him back in the Soviet Union. I think the main problem affecting this film is it seems unduly influenced by Bergman and has the same cameraman. The hysterical women on the floor especially reminds me of 'Cries And Whispers'. Mimicking another's style, even one as great as Bergman's, diminished him somehow. Also, I can't pretend to understood the plot which at times seemed eccentric to the point of obtuseness and silliness, not least the rather too sudden appearance of an ambulance and the puzzling business involving a witch. Why anyone should suspose such an involvement would prevent a nuclear war is perplexing. Also the tired use of yet another levitation motif suggested Tarkovsky may have been running out of artistic steam. On the plus side there is an enigmatic soundtrack of what sounds like sheet metal work, suggesting spiritual discord perhaps?

Whether one engages with a Tarkovsky film depends on whether you identify with whatever spiritual problem his character is wrestling with. Some people are more concerned with nuclear issues than others. Some may see the sacrifice made by Otto as an inspiring spiritual one against his own interests. Certainly Tarkovsky seemed enamoured of the concept of the holy fool, weak and perhaps misguided and foolish individuals who are disenfranchised but in their lowliness somehow admirable and insightful on some matters. Others of a more secular persuasion may see Otto's sacrifice as selfish (his family being affected) and merely the pointless actions of the benighted. I'm sitting on the fence. The final sequence, which for the reasons above had to be re-shot is sadly not one of Tarkovsky's best. He has this need not to edit for the audience and prefers scenes to run to their own inner dynamic. It didn't work for me.

Tarkovsky was dying of cancer during the making of this film and the watering of the withered tree is actually an older myth, ruminated upon in his extraordinary book 'Sculpting In Time'. It is about 'the truth' as he sees it and is a Christian one. Unfortunately, I don't think this film was all it could have been but I see why it means so much to many. In my opinion he was perhaps the greatest film maker of all time and we are unlikely to see his like again. He believed that the gift of friendship was the most natural and important one to give as it is the one most open to us all.

Andrei Tarkovsky was without a doubt one of the genuine artist working in the cinema. With films such as "Andrei Rublev", "Solaris", "Mirror", Stalker" and "Nostalghia", Tarkovsky enriched the world with powerful works for art. "Sacrifice" was his final film, made while Tarkovsky was dying of cancer. The story concerns an elderly academic who lives with his family in a rural part of Sweden. When he learns that about an imminent nuclear war, he makes a desperate pact with God. The film is astonishingly beautiful, like all Tarkovsky's films. Images of nature, water and fire feature prominently, as does the shifting from colour images to black and white.

It is important to remember that Tarkovsky is not a very accessible film-maker, and his films make great demands on viewer's patience and attention, but if you are willing to make the effort you will be rewarded by an unforgettable experience.

Tarkovsky's death bed film certainly lacks some of the fire and energy of his earlier work, but the story of Alexander's search for faith amidst the worst kind of madness is by no means dull. The cinematography and editing are obviously Bergman influenced, but anyone who says that it bothers them to see Tarkovsky borrow the style of another needs to learn more about Eisenstein, Kuleshov, and perhaps Wajda.

This film serves as a stark example of the real difference between the work of the European authors and Hollywood. While viewing, keep an eye on the editing. Th film opens on a five minute long shot in which it is extremely difficult to even discern which character is speaking. The scenes are made up of as few shots as possible and the shortest shot of the entire film is about 10 seconds. There are less than a dozen close ups in the entire piece, which may be why American audiences with their limited attention spans, would reject the film. The Sacrifice might not sit well with Tarkovsky purists, but it's themes and philosophy, I feel, surpass in depth, any of the master's other works.

This is a spare and haunting work that weaves its spell slowly yet powerfully. Every shot is framed with loving care, and Tarkovsky allows the camera to remain fixed on a scene as events unfold. It's perhaps the most beautifully photographed film I've ever seen. There's very little music during the course of the movie, yet subtle, mysterious sounds contribute to an overall feeling of mystery and foreboding. The acting and dialogue are no doubt greatly influenced by the work of Bergman. Perhaps the film is a kind of homage to him.

This is definitely not a popcorn movie, nor one to see on a first date. I recommend you see it when you're not distracted or impatient - when you can be fully present and mindful as events develop at an unhurried, organic, human pace. The cumulative effect is devastating, yet somehow wonderfully cathartic.