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The Film Stalker

Decent Essays

The 1979 science fiction film Stalker, directed by legendary Soviet filmmaker Andrei Tarkovsky, is a film which contributes to historical understanding by being a product of its time through which we can examine Soviet anxieties on the concepts of freedom and religion. For many Soviet audiences, Stalker presented itself as an allegory for the yearning for greater freedom: personal, artistic and ideological freedom depending on the personal interpretation one ascribes to the film. Its titular character’s obsession with the uninhabited Zone outside of his industrious city mirrored audiences’ growing dissent with life within the stagnating Soviet Union, and their desire for that which lay outside its confines. Additionally, for many individuals, …show more content…

His daughter, Monkey (Natasha Abramova), is crippled; her affliction attributed to the contamination of the Zone. His wife (Alisa Frejndlikh), who knows that he has been enlisted to venture into the Zone, becomes hysterical at the prospect of his return to the area, citing his previous five years imprisonment for entering the Zone. Stalker remarks that ‘Everywhere feels like a prison to me’, and it becomes apparent that Stalker perceives the enigmatic Zone as a place of freedom and beauty--his ‘home’, as he later proclaims. This relationship between Stalker and the Zone takes on an increasingly religious aspect as the film progresses, with Stalker coming to present himself as a sort of prophet of the Zone as he ruminates on the world’s lack of faith. He reasons throughout the film that people must have faith in something, such as the Room and the Zone, if mankind is to survive. In analysing Stalker, one can discern how the Zone may be representative to Stalker as physical freedom; the Room within its borders a metaphysical concept for possessing the capability to freely indulge in one’s desires. This understanding of course is open to interpretation, and different audiences may ascribe different qualities onto what the Zone and the Room represent depending on their own …show more content…

The mise-en-scène of each scene within the Zone is masterfully arranged so as to promote the sense of otherworldliness so vital to the film. Furthermore, the film’s mysterious atmosphere is made immensely effective by clever camerawork, which uses heavy shadows and doorways, for example, to leave one painfully anxious as to what lies immediately out of sight. Moreover, Tarkovsky effectively uses colour to separate the two worlds of Stalker: inside of the Zone, and outside of it. Outside of the Zone, scenes are filmed in a broodingly dark monochrome, setting a harrowing tone for life within the city. Juxtaposingly, while in the Zone, scenes are presented in vivid full colour; a change which contributes to the Zone’s religious

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