#Vadim Yusov

[icollectimages]

Ivan's Childhood (1962) (Ivanovo detstvo)

Country: Soviet Union

Directed by: Andrei Tarkovsky

Cinematography by: Vadim Yusov

[matyas-ss]

Andrei Rublev (1966)

Directed by Andrei Tarkovsky

Cinematography by Vadim Yusov

[howardhawkshollywoodannex]

Ivans Childhood (1962) was photographed by Vadim Yusov. Vadim was born in Leningrad and has 24 cinematography credits from 1956 to 2010. His other notable credits include Andrei Rublev and Solaris.

[thecinematicshots]

[vibe-stash]

Solaris (1972)

Director: Andrei Tarkovsky Cinematography: Vadim Yusov Production Design: Mikhail Romadin

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"Humanity has already committed every stupidity and baseness, and now it only repeats them."

Андрей Рублёв (Andrei Rublev), 1966.

Dir. Andrei Tarkovsky | Writ. Andrei Konchalovsky & Andrei Tarkovsky | DOP Vadim Yusov

[byneddiedingo]

Anatoliy Solonitsyn in Andrei Rublev (Andrei Tarkovsky, 1966)

Cast: Anatoliy Solonitsyn, Nikolay Grinko, Nikolay Sergeyev, Nikolay Burlyaev, Ivan Lapikov, Irma Raush, Yuriy Nazarov, Yuriy Nikilin, Rolan Bykov, Mikhail Kononov. Screenplay: Andrey Konchalovskiy, Andrei Tarkovsky. Cinematography: Vadim Yusov. Production design: Evgeniy Chernyaev. Film editing: Tatyana Egorycheva, Lyudmila Feyginova, Olga Shevkunenko. Music: Vyacheslav Ovchinnikov.

Has any filmmaker ever made more eloquent use of the widescreen format than Andrei Tarkovsky does in Andrei Rublev? It was a process developed by Hollywood to help win its war with television -- bigger naturally assumed to be better. In Hollywood, it usually went hand-in-hand with color, and although the various widescreen processes -- Cinerama, Cinemascope, VistaVision, etc. -- were used in black-and-white films, they often feel out of place today. A case in point: The Diary of Anne Frank (George Stevens, 1959), which won an Oscar for the cinematography of William C. Mellor, but which seems to cry out for a format less expansive than CinemaScope, in which the Frank family's attic loses its cramped and confined essence. Andrei Rublev was filmed in a process called Sovscope, which like CinemaScope used anamorphic lenses to produce a 2.35:1 aspect ratio. Tarkovsky and cinematographer Vadim Yusov artfully work with the expanse of the screen, not shying away from closeups but also doing extraordinary movement with the camera. One of the earliest scenes takes place in the barn in which Rublev and his fellow artist-monks take shelter from the rain. We are given an astonishing 360-degree pan inside the barn, circling from the monks to the other denizens of the shelter and back to the monks, a study in faces that establishes one of the film's major subjects: the nature of Russian humanity, which also becomes an abiding concern of Rublev's. (I think there's a witty acknowledgment of the nature of widescreen in that the peep-hole cut into the wall of the bar seems to have the same aspect ratio as the film.) And in the concluding sequence, there is a magnificent pan from the gates of the walled city of Vladimir below and the emerging procession up to the structure that holds the newly cast bell, where Boriska (Nikolay Burlyaev) waits anxiously. Andrei Rublev is one of those films I can't help rewatching; even though (or perhaps because) it's slow and challenging, it more than repays frequent viewings. Tarkovsky is not a director to be taken lightly, and the moment you begin to be lulled by the magnificence of Yusov's cinematography or Vyacheslav Ovchinnikov's score, the director is likely to shock you with images of cruelty and brutality but also of beauty that make you sit upright. A "trigger warning" might be especially needed for lovers of animals, given the harshness with which they are occasionally treated: There is a scene with a cow on fire that will likely haunt me for a long time.* But all the unpleasantness in the film is in service of a story about the persistence of the Russian people and the transcendence of art. Anatoliy Solonitsyn, who plays Rublev, looks a bit like Viggo Mortensen, and recalls for me the tormented masculinity you find in some of Mortensen's performances. Another standout performance is given by Tarkovsky's wife, billed as Irma Raush, as the "holy fool" Durochka, whom Rublev saves from a massacre by the Tatars by killing the assailant -- leading Rublev to atone by giving up his painting and taking a vow of silence. The last section of the film is given over to young Boriska, played by Nikolay Burlyaev, the astonishing Ivan in Tarkovsky's Ivan's Childhood (1962), who takes on the task of casting a church bell despite the suggestion that he will be murdered by the tyrannical Grand Duke (Yuriy Nazarov) if he fails. Although the film is in black-and-white, it concludes with a breathtaking color sequence in which Rublev's paintings are shown in close-up. To my mind, this  final ecstatic survey of Rublev's work is the only section in which Tarkovsky is thwarted by the widescreen process: Rublev's paintings had an aspiring verticality that is at odds with the dimensions of the screen.

*The scene, I learned, on a recent re-viewing of the film, doesn't exist in all versions. In addition to versions made by Soviet censors, Tarkovsky himself made two: His original version ran 205 minutes, but he also made a "final cut" that runs 183 minutes.

[calledeitaca]

135 planos que harán que recuperes la fe en el cine

Un maravilloso vídeo ensayo de hace diez años que en su momento se hizo viral. En el verano de 2012, Flavorwire solicitó a sus lectores que sugirieran aquellas películas que consideraban eran las mejores de la historia del cine. El resultado, un montaje que la revista de cultura editó con los títulos propuestos por sus lectores y que rinde un hermoso homenaje al séptimo arte. Si eres amante del cine, seguro que disfrutarás de los magníficos ocho minutos que dura el montaje de Flavorwire. Las películas de las que se han extraído los planos, en orden de aparición:

Man with a Movie Camera (Mikhail Kaufman), The Assassination of Jesse James by the Coward Robert Ford (Roger Deakins), Baraka (Ron Fricke), Koyaanisqatsi (Ron Fricke), Days of Heaven (Nestor Almendros), Akira Kurosawa’s Dreams (Takao Saito, Shoji Ueda), What Dreams May Come (Eduardo Serra), Legends of the Fall (John Toll), Lawrence of Arabia (Freddie Young), El Topo (Rafael Corkidi), La Dolce Vita (Otello Martelli), The Tree of Life (Emmanuel Lubezki), Daughters of the Dust (Arthur Jafa), Chinatown (John A. Alonzo), Hero (Christopher Doyle), Kagemusha (Takao Saito, Shoji Ueda), The Night of the Hunter (Stanley Cortez), Ugetsu (Kazuo Miyagawa), Songs from the Second Floor (Istvan Borbas, Jesper Klevenas, Robert Komarek), The Black Stallion (Caleb Deschanel), Vertigo (Robert Burks), Manhattan (Gordon Willis), Apocalypse Now (Vittorio Storaro), Lovers of the Arctic Circle (Gonzalo F. Berridi), The Duellists (Frank Tidy), Powaqqatsi (Graham Berry, Leonidas Zourdoumis), Ran (Asakazu Nakai, Takao Saito, Shoji Ueda), Bombay Beach (Alma Har’el), 2001: A Space Odyssey (Geoffrey Unsworth), The Thin Red Line (John Toll), Cave of Forgotten Dreams (Peter Zeitlinger), The New World (Emmanuel Lubezki), Solaris (Vadim Yusov), The Diving Bell and the Butterfly (Janusz Kaminksi), I Am Love (Yorick Le Saux), A Matter of Life and Death (Jack Cardiff), Onibaba (Kiyomi Kuroda), Blue Velvet (Frederick Elmes), No Country for Old Men (Roger Deakins), I Am Cuba (Sergei Urusevsky), The Fountain (Matthew Libatique), There Will be Blood (Robert Elswitt), The Human Condition (Yoshio Miyajima), The Proposition (Benoit Delhomme), Raise the Red Lantern (Lun Yang, Fei Zhao), The Godfather Part II (Gordon Willis), 2046 (Christopher Doyle, Pung-Leung Kwan), Beauty and the Beast (Henri Alekan), Melancholia, (Manuel Alberto Claro), Road to Perdition (Conrad L. Hall), Alexander Nevsky (Eduard Tisse), Sunrise (Charles Rosher, Karl Struss), Blade Runner (Jordan Cronenweth), Citizen Kane (Gregg Toland), House of Flying Daggers (Xiaoding Zhao), Wings of Desire (Henri Alekan), Atonement (Seamus McGarvey), The Last Emperor (Vittorio Storaro), Before Night Falls (Xavier Perez Grobet, Guillermo Rosas), The Last Picture Show (Robert Surtees), The Red Shoes (Jack Cardiff), Down by Law (Robby Müller), Amelie (Bruno Delbonnel), Chungking Express (Christopher Doyle, Wai-keung Lau), Children of Men (Emmanuel Lubezki), Black Orpheus (Jean Bourgoin), The Leopard (Giuseppe Rotunno), The Age of Innocence (Michael Ballhaus), Perfume: The Story of a Murderer (Frank Griebe), Raging Bull (Michael Chapman), The Fall (Colin Watkinson), The Pillow Book (Sacha Vierny), Martha Marcy May Marlene (Jody Lee Lipes), Nosferatu the Vampyre (Jorg Schmidt-Reitwein), The Third Man (Robert Krasker), Good Night and Good Luck (Robert Elswitt), The Scarlet Empress (Bert Glennon), The Man Who Wasn’t There (Roger Deakins), Talk to Her (Javier Aguirresarobe), In The Mood for Love (Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee), The Man Who Cried (Sacha Vierny), Santa Sangre (Daniele Nannuzzi), The Passion of Joan of Arc (Rudolph Maté), In Cold Blood (Conrad L. Hall), 8 ½ (Gianni Di Venanzo), Brazil (Roger Pratt).

_________________ Fuente: Flavorwire.

[agendaculturaldelima]

  #ProyeccionDeVida

🎥 MosFilm 100, presenta:

🎬 “LA INFANCIA DE IVÁN” [Ivanovo detstvo / Ivan's Childhood]

🔎 Género: Drama / Bélico / II Guerra Mundial / Espionaje / Infancia / Nazismo

⌛️ Duración: 95 minutos

✍️ Guión: Vladimir Bogomolov y Mikhail Papava

🎵Música: Vyacheslav Ovchinnikov

📷 Fotografía: Vadim Yusov

🗯 Argumento: Segunda Guerra Mundial (1939-1945) Frente Oriental; Iván, un niño ruso de doce años, cuyos padres murieron durante la invasión nazi, trabaja espiando a los alemanes.

 👥 Reparto: Valentin Zubkov (Kholin), Nikolái Burliáyev (Ivan), Andréi Konchalovski (Soldado con anteojos), Nikolai Grinko (Gryaznov), Irma Raush (Madre de Ivan), Yevgeny Zharikov (Galtsev), Stepan Krylov (Katasonov), Valentina Malyavina (Masha) y Dmitri Milyutenko (Anciano).

📢 Dirección: Andrei Tarkovsky

© Productora: Mosfilm

🌎 País: Unión Soviética (URSS)

📅 Año: 1962

📽 Proyección:

📆 Martes 10 de Setiembre

🕖 7:00pm.

🏪 Cine Club de la Universidad de Ciencias y Humanidades (av. Bolivia 537 - Breña)

🚶‍♀️🚶‍♂️ Ingreso libre con DNI.

[yes-sikorskiy-yuriy]

Solaris | SCIENCE FICTION | FULL MOVIE | directed by Tarkovsky

The Solaris mission has established a base on a planet that appears to host some kind of intelligence, but the details are hazy and very secret. After the mysterious demise of one of the three scientists on the base, the main character is sent out to replace him. He finds the station run-down and the two remaining scientists cold and secretive. When he also encounters his wife who has been dead for ten years, he begins to appreciate the baffling nature of the alien intelligence... IMDb rating: 8,0 Year of production: 1972 Director: Andrey Tarkovsky Writers: Andrey Tarkovsky, Friedrich Gorenstein Composer: Artemyev Eduard Operator: Yusov Vadim Production Designer: Romadin Mikhail Starting: Cast: Grinko Nikolai, Dvorzhetsky Vladislav, Banionis Donatas, Solonitsyn Anatoly, Bondarchuk Natalia, Yarvet Yuri, Sargsyan Sos

"Solaris" was inspired by the film and has similar abilities. The scope of application is limited only by your desires and not desires. Energy enters the area of your strongest desires, fills your thought forms and transfers it to the area of implementation. Keep track of your vision for your future. Make a diagnosis of your ability to believe that this time everything will work out for you in the most real, magical way. Do any ritual that allows your subconscious to pay attention to this and indicate increased significance. Meditate on the “picture”, listen to music that will help you disconnect from everyday life and bustle. Print it in color, frame it and place an area of your space in your apartment. Keep a diary of your path to your dream (your book about your magic, maybe this is the best). Don’t forget to thank everyone who provides you with all possible help and sympathy along this path. Magic is a way of thinking translated only through your efforts in your own life. The main thing is to believe and commit. Good luck, Yuri. I am attaching a film and an audio performance based on this work by S. Lem, it’s worth watching at least once to understand the meaning of your future actions... The main runes in the “picture” are written down, there are a few more secondary runes and the arrangement itself carries a lot of energy, the main thing is to feel it.

[elizabethanism]

"I am what I am. You couldn't teach me integrity."

Andrei Tarkovsky's 'Andrey Rublev / Andrei Rublev'.(1969)

Cinematography by Vadim Yusov.

[icollectimages]

Solaris (1972) (Solyaris)

Country: Soviet Union

Directed by: Andrei Tarkovsky

Cinematography by: Vadim Yusov

[matyas-ss]

Solaris (1972)

Directed by Andrei Tarkovsky

Cinematography by Vadim Yusov

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Ivan’s Childhood (1962)

Director: Andrei Tarkovsky

Cinematographer: Vadim Yusov

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[vibe-stash]

Solaris (1972)

Director: Andrei Tarkovsky Cinematography: Vadim Yusov Production Design: Mikhail Romadin