The image is not a certain meaning,
expressed by the director,
but the entire world
reflected as in a drop of water.
An artistic image
is one that ensures its own development,
its historical viability.
An image is a grain,
a self-evolving retroactive organism.
It is a symbol of actual life,
as opposed to life itself.
Life contains death.
An image of life, by contrast,
excludes it, or else sees in it
a unique potential
for the affirmation of life
Lord! I feel You drawing near,
I can feel Your hand upon the back of my head.
Because I want to see Your world
as You made it,
and Your people
as You would have them be,
I Love You, Lord,
and want nothing else from You.
I accept all that is Yours,
and only the weight of my malice and my sins,
the darkness of my base soul,
prevent me from being
Your worthy slave, O Lord!
Help me, Lord, and forgive me!
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Instant Light: Tarkovsky Polaroids
Edited by Giovanni Chiaramonte and Andrey A. Tarkovsky
ISBN 0500286140
A beautiful, elegiac collection of sixty polaroid photographs by the late, great Soviet film director, Andrei Tarkovsky
‘Tarkovsky often reflected on the way that time flies and this is precisely what he wanted: to stop it, even with these quick Polaroid shots … These images leave us with a mysterious and poetic sensation, the melancholy of seeing things for the last time. It is as though Andrey wanted a swift way to pass his own enjoyment to others. They are something to be shared, not only a method of making his own wish to stop time come true. And they feel like a fond farewell’ – Tonino Guerra, from the Introduction to Instant Light
Composed of sixty luminous polaroids taken by Andrey Tarkovsky in Russia and Italy between 1979 and 1984, this beautifully produced series of cameos from the director’s life reveals him to be a master of the still as much as of the moving image. The photos in the first section, taken in Russia, have the radiant melancholy of lengthening shadows and trees looming through misty dawns near Tarkovsky’s country dacha, together with portraits of his wife, son and dog, loaded with nostalgia by quotations from his later diaries. Those taken in Italy portray exquisite still lifes and glimmering ruins. The book concludes with photographs from Tarkovsky’s personal collection.
Tarkovsky is here revealed as realizing the utmost potential of a fleeting, disposable medium: his images seem to capture eternity in a moment.
Andrei Tarkovsky, probably best-known for his 1972 film Solaris, is widely considered the finest film-maker Russia has ever produced. He died in 1986. Andrei A. Tarkovsky is his son. Giovanni Chiaramonte is a distinguished Italian photographer. Tonino Guerra is a prolific Italian screenwriter and was a great friend of Tarkovsky, with whom he worked on Nostalghia.
ソ連の孤高の映画監督、タルコフスキーによるフォトコレクション
それは優しい告別のようにも感じられる—ジョバンニ・キアラモンテ
アンドレイ・タルコフスキー(1932-1986)は、広大なロシアがかつて輩出した中で最も素晴らしいフィルムメーカーのひとりです。1972年に制作された「惑星ソラリス」が特に有名ですが、その他に「アンドレイ＝ルブリョフ」「鏡」「ストーカー」などがあります。ソ連政府の検問と戦い続けた彼は、イタリアにおいて故郷への想いを込めた「ノスタルジア」を撮影し、ソ連からの亡命を宣言しました。晩年、政府から名誉回復の通達を受け、家族との再会が実現。その模様はNHKのドキュメンタリー番組でも放送されました。
本書には、タルコフスキーが1979年から1984年の間に、ロシアと亡命先であるイタリアで撮影したポラロイド62枚が収められています。イタリアの写真家ジョバンニ・キアラモンテと、タルコフスキーの息子が編集を担当しました。序文を寄せたトニーノ・グエッラはイタリアの映画脚本家で、タルコフスキーとは「ノスタルジア」で一緒に仕事をして以来の親友です。
ソ連時代に撮られた第１章では、彼が後に書いた日記からの引用によって郷愁の想いが綴られています。カントリー・ダーチャ（ロシアの別荘）で過ごす彼の妻、息子、犬の肖像。霧深い夜明けと共にぼんやりと現われる木や長い影が憂鬱さを放ちます。第２章のイタリア編は、前章とは対照的に精巧に静止している生活の一場面や、かすかに光る廃墟などが印象的です。
映画のワンシーンを彷彿とさせる写真が数多く見られ、映像にこだわり続けたタルコフスキーを偲ばせます。
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Book bought:
-
Books read:
-Informal--Cecil Balmond
-Instant Light: Tarkovsky Polaroids--Edited by Giovanni Chiaramonte and Andrey A. Tarkovsky
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