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.

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

It's been 5 years (already!) since I saw my last Tarkovsky. I had come to rest with Zerkalo, because here was a man, one of few, very few in the cinema, who can permeate so deeply into the essential mystery of how things move, and he only made a handful of movies really so I must make them last, and take them in when the time feels right. My next one might be in another 5 years time, but yesterday night the time felt right for this, one I've been heartily anticipating for years.

This is Tarkovsky entering the mind once more. He never does it in any obvious, Inception way, it's never actually the mind; but we arrive at a place, a source of the imagining, where wind blows from and rings each thing into being. In Rublev he was the artist looking to paint the face of god in a godless world that concealed it. In Solyaris he was the cosmonaut. In Zerkalo, a filmmaker who recalled a whole life, receiving visions at the doorstep. Here he's the Stalker who takes us into the Zone, obvious enough.

Each one is self-referential of course about the very process of stepping into the movie. The Zone as a Tarkovsky movie - full of desolate nature and a mysterious presence that bends logic. We first have to cross the iron border where censors (his illiterate Soviet patrons) prevent entry.

This is the border guarded by the irongated mechanisms of reason that has to be crossed before we can begin our guided meditation beyond logic. One way he does this is by splitting himself into characters. One is a scientist, which is Tarkovsky's critique of a mechanistic worldview that reduces a tree to what biological facts it can explain. Another is a writer, a surrogate for Tarkovsky's intellectual self who despairs about the possibility of words to communicate sense. The Stalker himself as who Tarkovsky feels himself to be most purely, the guide who knows the whims of this landscape and wants nothing other than to bring us to the doorstep of miracle.

It's his uncanny ability, as always, to pave the way for that miracle. We never enter "the room", as it were. But we are brought to the doorstep. He cultivates the space that leads up to that apperception, this is what people call elusive and dreamlike. Tarkovsky's real work is that he teaches, rewires, us how to see, effects this change in the whole of logic of space, so that we leave with Tarkovsky eyes to go back out. This is far more valuable, and insightful, than any of the imagery that blends industrial grime, fish and religious iconography (in one memorable instance, with voice-over from John's Apocalypse). It's that elements can swirl and reflect in this way.

He does several wonderful things, some of them completely breathtaking like the meditation on music that rings a chord in the listener who responds to it with what we have no other name to call but soul. He stretches space, seemingly with no effort, both in the industrial segment early and then across the Zone. He makes the geography elastic, shuffles boundaries of forward and back. It's not that this means something again, it's that the place in which you can receive _anything_ (which is perception itself) can bent thus. The result is a marvelous sense of heaving. Thunderous views of a train, or waterfalls, crash across the frame. Same thing. It's his most sculptural work so far.

The dilapidated Soviet locales provide ample opportunity for gnarly imagery, I simply shudder to think that it was actually filmed in places like we see. It's possible that we're seeing the place that killed him and several more from cast and crew.

But there's also another side that I want to draw my distance from. In Zerkalo he had reached a point of equanimity that lets go of questions and accepts what is, that for better or worse a life was lived. This is gone here and replaced with a sense of tiredness and cynicism that narrows down to the personal. Now it's not about what is let go of, it's about what is clung onto. None of it is sci-fi of course. But too much is an artist's stream-of-consciousness on what place his own art has. Too much is angsty here. What am I to make for example of Stalker being escorted to bed by his wife, now a pathetic figure who complains that no one wants what he has to show? This is a dangerous path to take because it substitutes the struggle to make sense of life, with the struggle to deliver art about doing it and complain that no one appreciates it. The latter Tarkovsky is far less interesting to me than the former. I fear he would get worse in this regard, compounded by his exile from home.

I've read about how Tarkovsy was possibly interested in Zen Buddhism and Tao while preparing for this and may have incorporated influence. There is the notion of spontaneous arising in the Zone as the Zen mind and the bit about how the soft endures while the hard breaks that comes from the Daodejing. It doesn't really venture into either, its preconceptions simply lie elsewhere. But Tarkovsky fails to make use of the Buddhist wisdom in his own predicaments. Instead of letting go, he clings to the burden of fixed views. He suffers their weight, for no reason I might add. The title of this post is a Taoist excerpt.

So there are two sides here. The journey to where perception is made fluid and mingles with its reflection and the intellectual burden of its creator. One soft, the other hard. Maybe in another 5 years I will get to see what gives way in Nostalghia.

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.

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".