Style
The camera work is slow, containing the hallmarks of Tarkovsky and Nykvist. The film's soundtrack includes three distinct pieces: the passionate aria Erbarme dich from Johann Sebastian Bach's Matthew Passion, soothing Japanese flute music played by Watazumi Doso Roshi, and eerie traditional chants from the Swedish forests (in the old days farm girls used to call home the livestock from their forest pastures in this way). The film also contains several long closeups of Leonardo da Vinci's Adoration of the Magi.
The film uses long takes more than Tarkovsky's previous films. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, the longest take in all of Tarkovsky's work. Shots lasting between six and eight minutes are commonplace in the film, and there are only 115 shots in the entire film.
Most of the film takes place inside or around a house specially built for the production. The climactic scene at the end of the film is a long tracking shot in which Alexander burns his house and his possessions. It was done in a single, six minute, fifty second take, often misstated as Tarkovsky's longest shot. The shot was very difficult to achieve. Initially, there was only one camera used, despite Sven Nykvist's protest. While shooting the burning house, the camera jammed, ruining the footage. (This disaster is documented in documentary entitled Directed by Andrei Tarkovsky and the documentary One Day in the Life of Andrei Arsenevich.)
The scene had to be reshot, requiring a quick and very costly reconstruction of the house in two weeks. This time two cameras were set up on tracks, running parallel to each other. The footage in the final version of the film is the second take, which lasts for several minutes and ends abruptly because the camera had run through an entire reel in capturing the single shot. The cast and crew broke down in tears after the take was completed.
Read more about this topic: The Sacrifice
Famous quotes containing the word style:
“Always, however brutal an age may actually have been, its style transmits its music only.”
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“Style is the man himself.
[Le style c’est l’homme même.]”
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