Andrei Tarkovsky - Influences

Influences

Tarkovsky became a film director during the mid and late 1950s, a period during which Soviet society opened to foreign films, literature and music. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience which influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.

Tarkovsky was, according to Shavkat Abdusalmov, a fellow student at the film school, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves."

In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette, by Robert Bresson; Winter Light, Wild Strawberries and Persona, by Ingmar Bergman; Nazarín, by Luis Buñuel; City Lights, by Charlie Chaplin; Ugetsu, by Kenji Mizoguchi; Seven Samurai, by Akira Kurosawa, and Woman in the Dunes, by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.

With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Paradjanov and Alexander Dovzhenko highly.

Although strongly opposed to commercial cinema, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but nevertheless impressed by this film.