Rating: 
Summary: Tarkovsky At - Dare I Say - His Preachiest
Review: 'The Sacrifice,' Tarkovsky's final film and the second of his non Russian productions, shot by the great Sven Nykvist (Winter Light, Cries And Whispers) is his most direct - and slightly preachy - work in his oeuvre. While this film is still a masterwork in many respects, problems arose from the very begining. When Alexander and Toto discuss G-d and philosophy, in the vast landscape, it felt forced and contrived. Also, some preachiness was evident in the scene when Alexander asks G-D to spare the world of it's misery; "forgive those who do not believe in you because they are blind." In anouther scene, Toto tells the family a story about a mother that has her photo taken and upon recieving the prints sees the image of her son, who past away 20 years earlier, in a war. After telling the story Toto vents on how "people see nothing, they are blind." As a viewer I felt slightly insulted and disappointed by these scenes. Apart from some of Sacrifice's flaws it still contains all we have come to expect from the master. The art works, the long takes, the slow zooms, the spirituality, and philosophical musings. 'The Sacrifice' is probably Tarkovsky's greatest sound design achievement. The intermittent voices audible throughout the film, like beckons from anouther world, and the Japanese flute that would come swooping in so elegantly with the damp winds were perfect. Admittedly, I have only seen The Sacrifice once. Further viewings, I'm sure, will result in different readings and opinions of the film. Also, I suggest reading his book "Sculpting In Time" it has been of much help to me in understanding his art.
Rating:
Summary: TARKOVSKY 'LIGHT'...?
Review: ...that seems to be the opinion of some reviewers. This film - Tarkovsky's final work - is certainly more accessible than his others, more straightforward in its storytelling...but there's a lot of wonderful elements involved, and it certainly doesn't deserve to be relegated to the 'minor works' category. Other reviewers have also drawn comparisons between this film and the work of Swedish director Ingmar Bergman - there is some of Bergman's 'look' to the film, perhaps because Tarkovsky chose to work with Sven Nykvist, who worked on several of Bergman's films. Even with this 'Bergmanesque' presence, this is definitely Tarkovsky's film - and if it's more accessible than some of his other works, perhaps it's a good place for someone who is unfamiliar with his work to start. Several of Tarkovsky's favorite themes are present in SACRIFICE - alienation, an aching emptiness of the spirit, the slighting of nature by mankind. Erland Josephson portrays Alexander, a wealthy, semi-retired writer who lives with his wife, teenage daughter and 'Little Man', his young son, in a lovely house that sits rather isolated on the seaside in Sweden. His young son is obviously his favorite, the center of his soul and existence. We see him with the little boy, planting a tree, telling him a story about devotion to duty involving a young Japanese monk and his master. Alexander's birthday is at hand, and his family, along with a couple of friends, makes ready to celebrate. As the group awaits dinner to be served, there is a roaring - like a low-flying jet - in the sky, followed by what appears at first to be a mild earthquake. A ceramic milk pitcher vibrates its way off a shelf, shattering on the floor - news broadcasts on the television indicate that World War III has begun. Each of the characters reacts in their own way - Alexander's wife falls to pieces and requires a sedative from their friend Victor, a doctor. Alexander is shaken as well - but he's not sure what to do. He has lost his faith several years before, and yet he finds himself begging God to reverse the horrible events unfolding on the television screen. In one of the film's most poignant moments, we see him drained of strength, falling on his knees, barely able to speak, praying with all his might. He attempts to 'strike a bargain' with God, offering to give up everything - his home, his belongings, his family...even Little Man, his beloved son, if the world can be 'put back like it was before'. In a conversation with his friend Otto, the postman, Alexander learns of Otto's suspicion that Maria, one of Alexander's servant girls, is a witch - and Otto suggests that if Alexander goes to Maria and sleeps with her, she has the power to reverse the horrible events. In his desperation, Alexander succumbs to Otto's suggestion - he never voices his request to Maria, but she sees the pain in his eyes (and in his actions) and takes him to her bed in an attempt, I think, simply to comfort him. This scene - like lovemaking scenes in all of Tarkovsky's films, when they occur - is photographed beautifully and tastefully. Tarkovsky never stooped to gratuitous or graphic sex or nudity. We see the couple lie down, embrace - and levitate, floating gently into the air, a lovely, tender visual rendition of the healing power of love. You'll have to see the film in order to find out if Alexander's efforts - in either theatre - are rewarded. I don't want to spoil anything for the potential viewer. Suffice to say that even as the film ends, the viewer is left with as many questions as answers - and that's one of the things I find so stimulating and rewarding about Tarkovsky's work. I can't give anything I've seen by this director less than five stars - and while this might not be quite on the same levels as his other films, it's still head and shoulders above the commercial films coming out of the major studios.
Rating:
Summary: TARKOVSKY 'LIGHT'...?
Review: ...that seems to be the opinion of some reviewers. This film - Tarkovsky's final work - is certainly more accessible than his others, more straightforward in its storytelling...but there's a lot of wonderful elements involved, and it certainly doesn't deserve to be relegated to the 'minor works' category. Other reviewers have also drawn comparisons between this film and the work of Swedish director Ingmar Bergman - there is some of Bergman's 'look' to the film, perhaps because Tarkovsky chose to work with Sven Nykvist, who worked on several of Bergman's films. Even with this 'Bergmanesque' presence, this is definitely Tarkovsky's film - and if it's more accessible than some of his other works, perhaps it's a good place for someone who is unfamiliar with his work to start. Several of Tarkovsky's favorite themes are present in SACRIFICE - alienation, an aching emptiness of the spirit, the slighting of nature by mankind. Erland Josephson portrays Alexander, a wealthy, semi-retired writer who lives with his wife, teenage daughter and 'Little Man', his young son, in a lovely house that sits rather isolated on the seaside in Sweden. His young son is obviously his favorite, the center of his soul and existence. We see him with the little boy, planting a tree, telling him a story about devotion to duty involving a young Japanese monk and his master. Alexander's birthday is at hand, and his family, along with a couple of friends, makes ready to celebrate. As the group awaits dinner to be served, there is a roaring - like a low-flying jet - in the sky, followed by what appears at first to be a mild earthquake. A ceramic milk pitcher vibrates its way off a shelf, shattering on the floor - news broadcasts on the television indicate that World War III has begun. Each of the characters reacts in their own way - Alexander's wife falls to pieces and requires a sedative from their friend Victor, a doctor. Alexander is shaken as well - but he's not sure what to do. He has lost his faith several years before, and yet he finds himself begging God to reverse the horrible events unfolding on the television screen. In one of the film's most poignant moments, we see him drained of strength, falling on his knees, barely able to speak, praying with all his might. He attempts to 'strike a bargain' with God, offering to give up everything - his home, his belongings, his family...even Little Man, his beloved son, if the world can be 'put back like it was before'. In a conversation with his friend Otto, the postman, Alexander learns of Otto's suspicion that Maria, one of Alexander's servant girls, is a witch - and Otto suggests that if Alexander goes to Maria and sleeps with her, she has the power to reverse the horrible events. In his desperation, Alexander succumbs to Otto's suggestion - he never voices his request to Maria, but she sees the pain in his eyes (and in his actions) and takes him to her bed in an attempt, I think, simply to comfort him. This scene - like lovemaking scenes in all of Tarkovsky's films, when they occur - is photographed beautifully and tastefully. Tarkovsky never stooped to gratuitous or graphic sex or nudity. We see the couple lie down, embrace - and levitate, floating gently into the air, a lovely, tender visual rendition of the healing power of love. You'll have to see the film in order to find out if Alexander's efforts - in either theatre - are rewarded. I don't want to spoil anything for the potential viewer. Suffice to say that even as the film ends, the viewer is left with as many questions as answers - and that's one of the things I find so stimulating and rewarding about Tarkovsky's work. I can't give anything I've seen by this director less than five stars - and while this might not be quite on the same levels as his other films, it's still head and shoulders above the commercial films coming out of the major studios.
Rating: 
Summary: What's more frightening WWIII or bored Swedes?
Review: Affluent, bored Swedes make up non existent problems so they can philosophise about them until, suddenly, World War Three breaks out. Did I say suddenly? Sorry. It's a Tarkovsky masterpiece so nothing EVER happens suddenly. It's interesting to contrast Holyweird vs. European arthouse flick styles when they're both trying to be profound. In America it's achieved by exaggerating the 'make the point, cut and go to the next shot' gimmick. Thus "American Beauty" which moves at lightning speed--one feels as if each scene lasts 3 seconds, if that- and the audience believes something meaningful has occurred when they've merely been battered and TKO'd with muddled drivel. In Europe it's the opposite; keep the camera still, let the actors walk into frame and take forever to make the point--if you get around to it at all. And no one does the European gimmick better than Tarkovsky. The Sacrifice may not be drivel but it is muddled; in part because Tarkovsky chose to mix up two different stories, one about ww3 and another about a witch. A tree symbolises hope. An ambulance symbolises the need for a script doctor. A child symbolises the future. A film in longshots symbolises looking through the wrong end of a telescope. Light and earthtones symbolise faith. Darkness and mionochrome symbolise the despair the audience feels that the film's not over yet. Sadly, Tarkovsky's last effort.
Rating:
Summary: poetry as cinema
Review: after watching a film by Tarkovsky i have nothing to say, i become speechless and paralyzed. he is the only filmmaker that can do that to me. other films that i watch i want to talk about. but after films like the Sacrifice i want nothing but silence. films like this should be kept to oneself... one should only recommend them to others and say nothing more. because the beauty in works like this and life itself is letting it fill you with everything it has. saying nothing and purifying yourself through silence. and this is possibly the greatest sacrifice.
Rating:
Summary: My Favorite Andrei Tarkovsky Film!
Review: Cinema has had it's share of powerful directors. On that list goes Ingmar Bergman, Luchino Visconti, Bernardo Bertolucci, Martin Scorsese, Akira Kurosawa, and without little doubt the director of this film, Andrei Tarkovsky. Tarkovsky is a filmmaker who always make me feel dumb. I always feel he is saying something important, but, I'm just not smart enough to grasp what it is he is saying. I think he is a first rate story-teller. His films deal with strong emotions. But,of all of Tarkovsky's films this one is my favorite. Not only is it my favorite of Tarkovsky's films, it is also of the greatest films I've ever seen. And one of my "top 10" favorites. If there was only one Tarkovsky film I was allowed to watch over and over it would be "The Sacrifice", his final film. Much of this movie will not feel like a Tarkovsky film. It has elements of Ingmar Bergman. Perhaps that's why I enjoy it so much. But right from the very first shot. From the first words of dialogue. From the way the camera was set-up, everything just suggested Bergman to me. And I don't say this as a fault. "The Sacrifice" is a powerful moving film. That doesn't seem preachy or pretenious. It's emotions seem sincere. We connect with the characters. "The Sacrifice" tells the story of a man (Erland Josephson) who lives with his son and wife. Josephson is the kind of man who think society is in deep trouble. We are headed in a terrible direction. On the day of his birthday something awful happens. According to Josephson the beginning of WW3 has started. A nuclear threat has hit and Josephson feels it is now up to him the ultimate sacrifice to save his family and friends. "The Sacrifice" has so many sterling moments. So many moments that boast such power. Right now I am thinking of a scene dealing with Alexander (Erland Josephson) prays to God. The scene reminds me of the scene in "The Seventh Seal" where Max von Sydow asks God to show himself. Both scenes show man helpless turning to God for help. Cinematographer Sven Nykvist and Tarkovsky are able to capture such tenderness. There is a very intimate and personal tone played throughout the movie. Many may find to film hard to watch. They will say it moves to slow. That the movie doesn't seem to be about anything. It's just plain boring. But if you would only give the movie a chance you'll see this is one powerful absorbing film. It may even make some ask questions about themselves. For instance, would you offer the same sacrifice? As I said before, I feel this is Andrei Tarkovsky's best film. Please make an effort to see it. Bottom-line: One of the greatest films I've ever seen. Andrei Tarkovsky's masterpiece. There are only a few films where the human condition has been shown as powerful.
Rating:
Summary: Tarkovsky goes Bergmanesque
Review: Expatriate Russian director Andrei Tarkovsky recruits Ingmar Bergman's production crew (including, most notably, his cinematographer) and invades the island of Faro, his old stomping ground, to produce a film that may actually go Bergman one better in terms of meditative tone. This film established Tarkovsky as a master of the long take; I think the average shot length in this film is a little over two minutes. To give you an idea of how unusual this is, most films have an average shot length of less than ten seconds. There are no shot/reverse-shot cuts in _The Sacrifice_. Many directors believe that the audience will grow restless unless their frame of reference constantly shifts. But with Tarkovsky, the longer you look, the more you see. A masterpiece. I'm not so impressed with the one extra, the documentary _Directed by Andrei Tarkovsky_. It's too long -- in a bad way -- and not half as interesting as the similarly themed _Une Journee d'Andrei Arsenevich_. If you want to see Tarkovsky in action as a filmmaker, see _Journee_.
Rating:
Summary: An Enigmatic Journey
Review: Have you ever seen a horrible storm come inland from the sea, darken the sky and turn objects/people into shadowed forms, flattered and dissolved by the unobtainable truth(s)? If so, you'll have an idea of what this mysterious film is like. Each viewer must decide what the film is about, what it is trying to say. It is an essay on life & death, on God & Faith, on beginnings and endings, and finally on the eternally flawed moving painting that cinema is. It's a beautiful work which requires repeat viewings; as such, you must own it.
Rating:
Summary: Masterpiece
Review: I am continually amazed at the huge variation in people's tastes. Someone can give a 1 star rating and the next a 5 star rating for the same film. I can be touched by a film so deeply and yet the person sitting next to me feels nothing. I guess it proves how different we all are. "The Sacrifice" touched me. I would rank it amongst the best 5 films I have ever seen. The film is mysteriuos, haunting, slow paced, impecably filmed and acted. So many images remain in my mind. The woman who breaks down and has to be pacified by a tranquilizer, the haunting music associated with the witch that permeates throughout the movie, the long take as the house is burned etc etc. This is a truly great masterpiece. What a shame Tarkovsky died so young.
Rating:
Summary: Wait for another transfer!!
Review: I gave this 5 stars because the movie is a masterpiece. However, nostalghia.com, a devoted Tarkovsky site, has reported some serious flaws with the transfer: The transfer of Sacrifice is less than vibrant, and there is a serious flaw in color balance starting at Ch3/3:20 (not seen in the corresponding sequence in the later documentary). Notice also typo on cover: "Tarkosvky". I hope that Kino re-releases this, or another company, as it needs to appear in the way Tarkovsky intended!
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