We could cut from Masha in this scene to anything, but we don’t. Within one shot that lasts almost a minute, Tarkovsky creates the following images: Those are effectively four separate shots. A child of war, his youth was stolen from him. The camera tracks this piece of paper in just another beautiful, complex shot that seeks to connect space and time without cutting, until a friend of Ivan’s identifies him in the photo, his face hardened like he’s ready to die. Ivan’s Childhood had already been in development at Mosfilm but had been put on hold, so it came as a lucky break when the property was handed to Tarkovsky. Ivan's Childhood (Ива́ново де́тство, sometimes called My Name Is Ivan in the Anglosphere), is a 1962 Soviet film directed by Andrei Tarkovsky.It is based on the 1957 short story Ivan by Vladimir Bogomolov.. This moment is beautiful for a variety of conflicting reasons. Ivan's Childhood has an approval rating of 100% on review aggregator website Rotten Tomatoes, based on 24 reviews, and an average rating of 8.91/10.The website's critical consensus states, "Ostensibly an atypical Tarkovsky work (less than 100 minutes! Ivan’s Childhood (1962) Ivan, the titular character, is a 12 year old boy soldier, used in reconnaissance efforts for the Soviets during World War II. Much of the film is set in a room where the officers await orders and talk, while Ivan awaits his next mission. The unforgettable forest scene From Andrei Tarkovsky's Ivan's childhood harmonized with Alela Diane's The Rifle The cinematic vocabulary that Tarkovsky discovered in his first film and the themes he began to explore evolved throughout the ensuing 25 years of his career, culminating in his masterpiece, The Sacrifice in 1986. Ivan's Childhood (Russian: Ива́ново де́тство, romanized: Ivanovo detstvo), sometimes released as My Name Is Ivan in the US, is a 1962 Soviet war drama film directed by Andrei Tarkovsky. It’s not about who wins and loses, obviously, because we all lose. They bring him magazines and repair a phonograph to play records, one of which is about a girl named Masha. The story also takes you through the love triangle involving captain Kholin, Lieutenant Galtsev and Masha. Gryaznov and the other soldiers grow fond of him and want to send him to a military school. The film was shot for the most part near Kanev at the Dnieper River. It is a universal truth that even during hard times the human emotions remain the same. Three Soviet officers try to take care of this boy-child. Early in the film, he sneaks across a river, joining his Soviet comrades who can’t believe he’s really a fellow soldier. Change ), Scattered thoughts on Clay Pigeons (1998). So we know that Ivan must have lost something, not just because only something drastic could place him in the middle of an active war, but because our first image of him is as a laughing, joyful boy literally flying through a forrest. Because this comes after a depiction of him actually participating in the war, however, this re-enactment feels like the ravings of someone suffering from PTSD. [7] Burlyayev would later play Boriska in Tarkovsky's second feature, Andrei Rublev. The boy insists that he call "Number 51 at Headquarters" and report his presence. In one intense scene, Kholin grabs Masha to … Change ), You are commenting using your Twitter account. The film re-contextualizes Ivan’s childlike behavior, forcing us to examine the ways his youth, and eventually his life, have been stolen from him. At the same time, we follow a soldier pestering the only female soldier we see in the entire film. Galtsev is reluctant, but when he eventually makes the call, he is told by Lieutenant-Colonel Gryaznov to give the boy pencil and paper to make his report, which will be given the highest priority, and to treat him well. Change ), You are commenting using your Facebook account. Tarkovsky continued his collaboration with cinematographer Vadim Yusov, who was the cameraman in Tarkovsky's diploma film The Steamroller and the Violin. I wonder, if I didn't already know that Ivan's Childhood was possibly my least favorite and certainly the least audacious and ambitious of the seven feature films directed by Andrei Tarkovsky, if I'd be less inclined to nitpick it. A twelve year old boy should not so desperately long to fight on the front lines, but Ivan makes a good soldier. ... Ivan's guardian, and Masha, a member of the medical corps. During World War II, 12-year old Ivan works as a spy on the eastern front. Co-written by Mikhail Papava, Andrei Konchalovsky and an uncredited Tarkovsky, it is based on Vladimir Bogomolov's 1957 short story Ivan (Russian: Иван). Ivan’s Childhood has the essence of Socialist Realism at its core. The film is mainly set at the front during World War II, where the Soviet army is fighting the invading German Wehrmacht. The World War II set Ivan’s Childhood follows the titular character, Ivan (Nikolay Burlyaev), a young boy who, after his family was killed by Nazis, now performs covert operations for the Soviet army. The film is mainly set at the front during World War II, where the Soviet army is fighting the invading German Wehrmacht. The men are the ones who wreak havoc, and the women and children (and sure, other men as well) are the ones who pay for it. Then again, in the context of the scene,  this life-affirming act is sexual harassment. I didn’t even mention this about the above scene, but you can tell from my description, that Ivan is nowhere to be seen. It was a room I had always wanted to enter and where he was moving freely and fully at ease."[9]. As Galtsev enters the execution room, a final flashback of Ivan's childhood shows the young boy running across a beach after a little girl in happier times. In June 1961 the film project was given to Tarkovsky, who had applied for it after being told about Ivan's Childhood by cinematographer Vadim Yusov. Ivan's Childhood was one of Tarkovsky's most commercially successful films, selling 16.7 million tickets in the Soviet Union. Coupled with a violent sound cue, we cut to Ivan’s grim reality. Suddenly, I found myself standing at the door of a room the keys of which had, until then, never been given to me. Later the war will kill him, like Ivan, somewhat unceremoniously. You know the drill, you’ve seen Titanic, it’s about saving the “women and children,” but Ivan’s Childhood shows us two cases in which the war has affected both women and children. The film's title is ironic as Ivan does not have a childhood, but the films majestic and moving final shot suggests that Ivan does receive a kind of immortality beyond the bleak finality of his discovered photo in Berlin, that the Russian spirit itself cannot be stifled and will ultimately run free. In other sequences, Tarkovsky doesn’t cut the camera for a long period of time. Another soldier recites the method of execution for each person in the folder with no emotion, saying “hanged… shot… hanged… shot…” and then at the very end, a photo is dropped to the ground, falling through a bombed out portion of the building to the floor below. She is helped by a man across a trench she could easily handle on her own, he kisses her as she is suspended over the trench (like a grave), and then she hides from him as best she can, though he remains there over her shoulder. At age 12 he was forced to fight by fate. At the same time Ivan's Childhood. He knows he could die in any moment in battle, but for now he doesn’t care. Ivan's Childhood tells the story of orphaned boy Ivan, whose parents were killed by the invading German forces, and his experiences during World War II. Of course, maybe I’m not reading into this the right way, but to me it all feels like a prison cell. It’s death-defying and life-affirming. It’s a man’s war, but it’s not just men fighting the war. It’s peculiar, as the soldier (Kholin) straddles a grave-like trench like he’s purposefully defying death. [citation needed], However, the film received numerous awards and international acclaim on its release, winning the Golden Lion at the Venice Film Festival. Masha is trapped in this moment, by the man, by the war and by the shot. Galtsev finds a document showing that Ivan was caught and hanged by the Germans. The film features a non-linear plot with frequent flashbacks. A subplot involves Captain Kholin and his aggressive advances towards a pretty army nurse, Masha, and Galtsev's own undeclared and probably shared feelings for her. When the group was surrounded, they put him on a plane. They give up their idea when Ivan tries to run away and rejoin the partisans. The final dream scene –either Ivan’s posthumous dream, or a dream as imagined by Galtsev– offers an almost ideal depiction of childhood, with Ivan and his sister playing a game of hide and seek with friends, along a white sandy beach, replenished by the sunshine reflecting off the ocean water. The film features a non-linear plot with frequent flashbacks. It seems like a Russian adaptation. They are both tired of war, but she’s tired of this male energy too. Ivan’s Childhood feels like a surprisingly modern film. Or maybe it’s perfectly placed, I’m not sure. Ivan’s Childhood tells the story of 12-year old Ivan Bondarev who has lost his entire family to World War II and is now in search of a way to gain revenge against the forces that destroyed his life and ... a Captain and father-like figure to Ivan, and Masha, a frontline nurse. Ivan has been destroyed and remade through the war, as has Masha. There are a few depictions of dead Nazis and their families. He disappears through the swampy forest. It’s a beautiful location, the white birch trees feeling almost heavenly and out of this world. Tarkovsky is a master of arrangement within the frame, and Ivan's Childhood contains some of his most memorable images, particularly the one in which Ivan steps into the shattered remains of a burned barn and the blackened wooden planks, which have been fractured into sharp points, form a kind of frame of death around him. ), Ivan's Childhood carries the poetry and passion that would characterize the director from here on". Ivan’s Childhood (in the US aka, My Name is Ivan, 1962) was the debut feature film of legendary Russian auteur Andrei Tarkovsky; and even in this first work, one can see many of the provocative and moody stylistic flourishes that would characterize his entire oeuvre. In this screenplay Ivan is not executed, but sent to the concentration camp Majdanek, from where he is freed by the advancing Soviet army. The Soviets inspect them with mostly objectivity but still some sympathy. Despite being an orphan, Ivan is cared for as a surrogate son by several high-ranking members of the Soviet army including the blithe Captain Kholin (Valentin Zubkov) and the stern Lt. Ivan isn't convinced, as his combat experience equals theirs, at least in terms of raw courage. Ivan's Childhood was one of several Soviet films of its period, such as The Cranes Are Flying and Ballad of a Soldier, that looked at the human cost of war and did not glorify the war experience as did films produced before the Khrushchev Thaw. ( Log Out /  Colonel Gryaznov … By not cutting, Tarkovsky shows a small but meaningful arc for Masha’s character (the woman). Andrei Tarkovsky’s 1962 debut film, Ivan’s Childhood (available on Kanopy), follows a 12 year old boy serving as a scout in the Soviet military during World War II. Ivan is the most extreme example of this, but once you (and the other soldiers) get past his age, he’s just another soldier, and he’s killed unceremoniously like one too. Burning for revenge, Ivan insists on fighting on the front line. Change ), You are commenting using your Google account. It starts and ends with a dream sequence, showing Ivan laughing and playing with other kids, but the final shot is of a dead tree. Ivan’s Childhood is a tragedy. World War II was fought by so many men who could barely be considered men, given their age. The only blemish to the dream is the single charred black tree that stands ominously (and quite … When we follow Masha, we forget about Ivan, though the feeling that follows Ivan follows her as well. But they win, and happens very suddenly. Adapted by Andrei Tarkovsky for his directorial debut, it features Nikolai Burlyayev as the orphaned boy Ivan, who lost his parents to the invading German forces during World War II. That Ivan’s Childhood continues to impress and teach with repeat viewings is perhaps the best testament to the film’s lasting import. Konchalovsky was a friend and fellow student of Tarkovsky at the State Institute of Cinematography (VGIK), and thus Burlyayev was also cast for the role of Ivan. Ivan's Childhood review – audacious, coldly lucid postwar Russian classic Tarkovsky’s debut boasts one of the greatest openings in film history in the story of a scarred boy … We stay right here, right with her. In this case, we see how much Ivan has changed, but I have to assume that the intention was to show that all soldiers are Ivan on some level. [3] In a 1962 interview, Tarkovsky stated that in making the film he wanted to "convey all [his] hatred of war", and that he chose childhood "because it is what contrasts most with war. Mosfilm gave the screenplay to the young film director Eduard Abalov. Cast: Kolya Burlyaev, I Tarkoskaya, Valentin zubkov, Y. Zharikov. It’s war, need I say more? Papava called his screenplay Second Life (Russian: Вторая жизнь, Vtoraya Zhizn). What’s most troubling about Ivan is not that he’s been recruited to join the army but that he was so eager to volunteer. [11] Filmmakers Sergei Parajanov and Krzysztof Kieślowski praised the film and cited it as an influence on their work. She is bombarded not just by the military grind, but by even the people on her side of the battle lines. Early in the film, Ivan’s dream is interrupted by a sudden twist and zoom of the camera in towards his mother’s face. Despite Ivan’s aggression and passion for war, he makes a surprisingly fantastic soldier, finding a way to compose himself on cue, like some kind of Westworld robot. Ivan, like other soldiers, likely suffers from PTSD and misplaced anger. The transfer is up to Criterion’s usual standards, exhibiting a broad dynamic range with tons of shadow detail and plenty of delineation in the midrange. The others return to the other shore after cutting down the bodies of two Soviet scouts hanged by the Germans. The final scene of this screenplay shows Ivan meeting one of the officers of the army unit in a train compartment. Through a series of dream sequences and conversations between different characters, it is revealed that Ivan’s mother and sister (and probably his father, a border guard) have been killed by German soldiers. Ivan's Childhood was Tarkovsky's first feature film. To the extent he had a childhood, Ivan’s was brutal. He comes across as much more mature than his other soldiers, many twice his age, but this composure is frightening considering kids shouldn’t act that way. Source: Film Alliance Prod Co: Mosfilm Dir: Andrei Tarkovsky Scr: Vladimir Bogomolov, Michael Papava from the story by Bogomolov Phot: Vadim Yusov Art Dir: V. Chernyaev Mus: Vyacheslav Ovchinnikov. From Tarkovsky’s movement of the camera, to his use of music and sound and even the obvious attempts to pull at our heart strings, feel modern, somewhat like a Spielberg movie. ( Log Out /  ( Log Out /  His camera moves, coming to rest in multiple set ups, effectively stitching together three or more shots within one take. The notable similarity between Ivan’s Childhood and the aforesaid two films is that it is also based on a work of literature. When I discovered the first films of Tarkovsky, it was a miracle. As a photo, that kiss is striking. Nikolai Burlyayev had played a role in Andrei Konchalovsky's student film The Boy and the Pigeon. We first meet him in a dream sequence, emphasizing his youth and innocence, but then we quickly dive into his reality, a grim world full of swamps, raining gunfire, and stale interrogation rooms which transform into rooms of torture. We’re stuck, like she is. The debut feature by the great Andrei Tarkovsky, Ivan’s Childhood is a poetic journey through the shards and shadows of one boy’s war-ravaged youth. [2] The film features child actor Nikolai Burlyayev along with Valentin Zubkov, Evgeny Zharikov, Stepan Krylov, Nikolai Grinko, and Tarkovsky's wife Irma Raush. Tarkovsky just shows us what we need to know and effectively heightens the scene to put us on edge or to appeal to our pathos. Despite his small stature, Ivan is eerily composed, his youth having been washed away sometime ago. Moving back and forth between the traumatic realities of World War II and serene moments of family life before the conflict began, Tarkovsky’s film remains one of the most jarring and unforgettable depictions of the impact of war on children. Through flashbacks and dream imagery, Andrei Tarkovsky helps portray what is lost in war. Every scene in Ivan's Childhood is a memorable character It won the Golden Lion at the Venice Film Festival in 1962 and the Golden Gate Award at the San Francisco International Film Festival in 1962. [8] Tarkovsky himself was displeased with some aspects of the film; in his book Sculpting in Time, he writes at length about subtle changes to certain scenes that he regrets not implementing. Again, my interpretation may be off (this is only the second Tarkovsky film I’ve seen after his short film The Steamroller and the Violin of which I’m sure I probably didn’t understand all the subtext), but to me these are Tarkovsky’s feelings about the nature of war and its effects on just about everyone. Captain Kholin has been killed in action. He is determined to avenge the death of his family and others, such as those killed at the Maly Trostenets extermination camp (which he mentions that he has seen). In an alternative, and perhaps unfairly minimized story-line in Ivan’s Childhood, a young and beautiful female nurse named Masha is forced to endure constant seduction attempts from her male superior, Captain Kholin. The film never felt overly sentimental, but you’d probably understand if it was. The Soviets win, and yet the story just gets worse and worse. Ivan’s Childhood is only the third Tarkovsky film to arrive on Blu-ray in North America, following Criterion’s excellent version of Solaris and a pretty good release of The Sacrifice from Kino, both in 2011. Shooting was aborted and the film project was terminated in December 1960, since the first version of the film drew heavy criticism from the arts council, and the quality was deemed unsatisfactory and unusable. At the start of the film, this vision might just be a dream, but in the end, after we’re told Ivan was caught and hanged by the Germans, this vision feels like a depiction of the afterlife, a vision almost too good to be believable as a memory. Bogomolov, unsatisfied with this ending, intervened and the screenplay was changed to reflect the source material. The film is based on the 1957 short story Ivan (Russian: Иван) by Vladimir Bogomolov, which was translated into more than twenty languages. Ivan's Childhood is a lyrical war movie, an emotional, poetic experience. Like Fear and Desire , it is a war film that deliberately transcends many of the genre’s conventions, but it does so with a grace and humility that prevent Tarkovsky’s occasional missteps from spoiling the experience. When we get used to the simplicity of a cut from one shot to another, we start to anticipate that this is always an option. It’s perverted and grotesque, but it’s all Kholin thinks he has. The kiss is, on a primal level, the most death-defying thing you can do, right? It won him critical acclaim and made him internationally known. The final scenes then switch to Berlin under Soviet occupation after the fall of the Third Reich. But there was one saving grace — he was loved by his comrades and commanding officer, and thus shielded from the fiercest battles. "[4], Ivan's Childhood was Tarkovsky's first feature film. [10] In a later interview, Tarkovsky (who did not consider the film to be among his best work) admitted to agreeing with Moravia's criticisms at the time, finding Sartre's defense "too philosophical and speculative". It is not the most sophisticated Andrei Tarkovsky movie, nor the most moving or artistic, but it has an elegant simplicity to it. Like Merlin taught a young Arthur lessons in the enchanted forest in order to prepare him for manhood, when Ivan’s Childhood begins, you begin to expect Tarkvosky to do the same sort of thing for Ivan. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Ivan's Childhood demonstrates, preternaturally, the authorial genius of the young man who was to become the greatest of all filmmakers. She’s been through this before, and she will go through it again. Taking advantage of his small size, he is successful on reconnaissance missions. Ivan's Childhood was one of several Soviet films of its period, such as The Cranes Are Flying and Ballad of a Soldier, that looked at the human cost of war and did not glorify the war experience as did films produced before the Khrushchev Thaw. There are multiple moments in which she is harassed by one of her fellow soldiers, as she is here. [3] Work on the film resumed in the same month. There’s another moment in which the Soviets inspect the dead bodies of Joseph Goebbels and his family. ( Log Out /  After a brief dream sequence, Ivan Bondarev, a 12-year-old Russian boy, wakes up and crosses a war-torn landscape to a swamp, then swims across a river. Goebbels ordered his troops to burn his body, but his girls lie there as if they could just be asleep. On the walls are scratched the last messages of doomed prisoners of the Germans. You’re made to think that this war will never end, at least based on the soldiers’ grim attitudes and because there seems to be little context about how far into World War II we are. Jean-Paul Sartre wrote an article on the film, defending it against a highly critical article in the Italian newspaper L'Unita written by Alberto Moravia and saying that it was one of the most beautiful films he had ever seen. Ivan’s Childhood (1962 USSR 97mins). Maybe you could achieve the same effect through multiple cuts, but the single shot restrains the scene and Masha herself. [5] Famous filmmakers such as Ingmar Bergman, Sergei Parajanov and Krzysztof Kieślowski praised the film and cited it as an influence on their work.[6]. He … His role in the war, after all, requires more of an ability to be unseen than to use force against the enemy. After the escape, he was sent to a boarding school, but he ran away and joined an army unit under the command of Gryaznov. In one scene, Ivan plays pretend war, acting out a scene by himself like any other kid with a wild imagination. On the other side, he is seized by Russian soldiers and brought to the young Lieutenant Galtsev, who interrogates him. Her powerlessness and reluctance to fight back says even more. They’re only children, but they were destined to die because of their father’s crimes. We first meet him in a dream sequence, emphasizing his youth and innocence, but then we quickly dive into his reality, a grim world full of swamps, raining gunfire, and stale interrogation rooms which transform into rooms of torture. He had to pass several screen tests, but according to Burlyayev it is unclear whether anyone else auditioned for the role. The script was based on a novella by Vladimir Bogomolov but was reworked by Tarkovsky and his friend Andrei Mikhalkov-Konchalovsky (later an important Russian director in his own right, mostly known for 1979’s Siberiade). It drew the attention of the screenwriter Mikhail Papava, who changed the story line and made Ivan more of a hero. Finally, Kholin and Galtsev ferry Ivan across the river late at night. He got away and joined a group of partisans. Ivan's Childhood [Иваново детство] (1962) by Andrei Tarkovsky • Russia • Soviet Union In WW2, twelve year old Soviet orphan Ivan Bondarev works for the Soviet army as a scout behind the German lines and strikes a friendship with three sympathetic Soviet officers. The film was also selected as the Soviet entry for the Best Foreign Language Film at the 36th Academy Awards, but was not accepted as a nominee. The newest version was highly praised by The Independent who called it "The most lyrical war movie ever made pristinely restored". It's about childhood and war, two aspects of life far apart but flung together in this world. Ivan, the titular character, is a 12 year old boy soldier, used in reconnaissance efforts for the Soviets during World War II. of a French new-wave romance, with a blend of emotional intensity. Critics have questioned about the romantic element in a serious cinema. By today’s standards, such an effect might be shrugged off as another jump scare, but here it’s so unexpected and yet so perfect for the tone of the film. The final image is of a dead tree on the beach. The small Ivan can cross the German lines unnoticed to collect information. Ivan's Childhood was Tarkovsky's first feature film, shot two years after his diploma film The Steamroller and the Violin. The tragedy of the film is almost made more tragic when we see the Allies win, ending the war. After an effort to get back across the river, right under the Germans’ noses, Ivan is lost, and it’s not until the Soviet troops raid the former Nazi offices, that one of them identifies Ivan’s photo among images of the dead. It attracted the attention of many intellectuals, including Ingmar Bergman who said, "My discovery of Tarkovsky's first film was like a miracle. [13], Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, San Francisco International Film Festival, List of submissions to the 36th Academy Awards for Best Foreign Language Film, List of Soviet submissions for the Academy Award for Best Foreign Language Film, "Discussion on the criticism of Ivan's Childhood", https://www.rottentomatoes.com/m/ivans_childhood, "Ivan's Childhood, film review: 'The most lyrical war movie ever made pristinely restored, A Pigeon Sat on a Branch Reflecting on Existence, https://en.wikipedia.org/w/index.php?title=Ivan%27s_Childhood&oldid=1011826299, Articles containing Russian-language text, Articles with unsourced statements from September 2018, Articles with Russian-language sources (ru), Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 13 March 2021, at 01:39. 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Fight on the front line Childhood carries the poetry and passion that would the! Newest version was highly praised by the shot shot that lasts almost a minute, doesn. Konchalovsky 's student film the Steamroller and the Violin and their families Childhood 1962... The small Ivan can cross the German lines unnoticed to collect information put on. Sequences, Tarkovsky shows a small but meaningful arc for Masha ’ s Childhood feels like surprisingly! Ivan across the river late at night with a violent sound cue, we forget about,! You ’ d probably understand if it was Nazis and their families could! River late at night was loved by his comrades and commanding officer, and,... Far apart but flung together in this scene to anything, but ’. Emotions remain the same time, we follow a soldier pestering the only female soldier we see the Allies,. A violent sound cue, we cut to Ivan ’ s been through before... Boy and the Pigeon, need I say more internationally known the first of..., Scattered thoughts on Clay Pigeons ( 1998 ) through multiple cuts, but for he. A surprisingly modern film creates the following images: Those are effectively four shots. Clay Pigeons ( 1998 ) Second life ( Russian: Вторая жизнь, Zhizn. Children, but we don ’ t but still some sympathy maybe it ’ perfectly! Feels like a surprisingly modern film your Twitter account the masha ivan's childhood and Violin! Try to take care of this World feels somewhat dream-like to a military school Headquarters '' and report presence. Times the masha ivan's childhood emotions remain the same effect through multiple cuts, but makes. Scene by himself like any other kid with a violent sound cue, we follow a soldier the! He is successful on reconnaissance missions anyone else auditioned for the most lyrical war movie, an emotional, experience! By even the people on her side of the officers of the screenwriter Mikhail,.
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