Stalker

Stalker

Andrei Tarkovsky’s Stalker is a film set in two worlds, but one that takes place entirely on Earth. The first act of Stalker shows us an unnamed, dilapidated city shot in washed-out sepia tones so murky and muted it is difficult to imagine anything surviving there. In this city lives the Stalker, a man called to guide people into the mysterious region known as the Zone.

The Zone is Stalker’s second world, shot in color and populated with the sounds of animals. It is the result of an unexplained alien encounter that occurred some twenty years prior to the action of Stalker. At the center of the Zone is a room that, when you enter it, will grant your deepest wish.

The Stalker leads two men, a professor and an author, first on an illegal escape from the city, and then through the complicated, capricious series of traps guarding the room. He tells them: “It lets those pass who have lost all hope; not good or bad, but wretched people.”

Stalker incorporates a number of Scriptural allusions on their journey, including a recitation of the Emmaus Road story and a character donning a crown of thorns. The film’s climax, too, is an extended dialogue on the struggle between proof and belief.

Along with its science fiction elements, Stalker is also a family drama. At the beginning of the film, the Stalker’s wife pleads with him not to undertake another journey to the Zone, for his sake—he has been imprisoned for previous trips—as well as for their invalid daughter, incongruously named Monkey (whom barely knows him). Even though he does not listen and leads the professor and author into the Zone, they are there for him when he returns, and it is from the Stalker’s wife and daughter that the film’s two strongest notes of grace come at the very end of the film.

—Tyler Petty, from his blog Faces Unveiled.

  1. Directed by: Andrei Tarkovsky
  2. Produced by: Aleksandra Demidova
  3. Written by: Arkadiy Strugatskiy Boris Strugatskiy Andrei Tarkovsky
  4. Music by: Eduard Artemev
  5. Cinematography by: Aleksandr Knyazhinskiy
  6. Editing by: Lyudmila Feyginova
  7. Release Date: 1979
  8. Running Time: 162
  9. Language: Russian

Arts & Faith Lists:

2005 Top 100 — #12

2006 Top 100 — #22

2010 Top 100 — #30

2011 Top 100 — #15

Similar Posts

  • Koyaanisqatsi

    If, as they say, writing about music is like dancing about architecture, then how does one describe a film like Koyaanisqatsi (1983), which has no actors, no dialogue, and no plot, but consists instead of nothing but music and images (some of which, incidentally, do happen to revolve around architecture)? Well, we can begin by looking at…

  • Chariots of Fire

    Chariots of Fire, based on the story of British Olympians Harold Abrahams and Eric Liddell, won the Academy Award for Best Picture in 1981. The film stretches the boundaries of both the biopic and sports genres as it presents a series of vignettes from the lives of these two athletes in the years and months…

  • Silent Light

    “All creation groans” in the unforgettable, long shots that open and close Carlos Reygadas’ remarkable film. It’s hard to believe this movie was released in 2008—it has a quality that will make it a major event for film students for many decades to come.   It’s set in a Mexican community of Old Order Mennonites, where…

  • Code Unknown

    A melting pot of social, racial and biological interactions, with injustice and violence and voyeurism thrown into the mix, Code Unknown is a film about owning up to the mystery of human relationships—how we stumble to connect through the maze of our own expressions. The film’s continual emphasis on cameras, and on the deaf and their sign…

  • 7th Heaven

    Director Frank Borzage first transports us to a dark, ugly, seedy world of poverty and inequality in Paris. The pre-code masterpiece deals with the later-taboo topics of abuse, prostitution and atheism. The Hayes’ Code was designed to present and protect “moral decency” on film. But by showing some of the realities of life that the…