Andrei Tarkovsky’s ‘Nostalgia’ (1983) is a cinematic revelation in so far as the notion of exile, memory, and the spiritual longing associated with it is concerned. The film is inspired by the story of Russian writer Andrei Gorchakov, who goes to Italy to write about the life of Palestrina, an 18th-century composer. While the film is quite passive and minimalistic in terms of its narrative, the effect of the film lies in its images, rhythm, and attempt at creating an atmosphere through them.
Already from the very beginning of the film, Tarkovsky offers the audience a world which is at the same time very concrete and very abstract. Gorchakov travels through streets with cobblestone pavements, churches, and destroyed buildings, every frame of which is thoughtfully composed to convey the flow of time. The landscape and architecture of the film are not only the setting that surrounds the events of the story but are also a part of the narrative and correspond to the inner world of the hero, as well as to the emotional atmosphere of memory itself. In this way, in this series of shots, Tarkovsky investigates not only the theme of exile understood as the physical condition but also as the existential one, where the longing for homeland is a longing that exists in the world of memory and not in the world of reality.
The Madman’s Penance and Andrei Tarkovsky’s Cinematic Language
The meeting between Gorchakov and the madman also holds a lot of relevance in the movie as far as the depiction of spirituality and humanity is concerned. The madman feels the need to make some sort of penance for the wrongs of humanity, which he does by carrying water in his wheelbarrow through the devastated land. This act of his is treated with utmost reverence by Tarkovsky, who sees it as a representation of faith and humanity. This act is depicted through long continuous shots, which are more concerned with the rhythm of the act itself and also provide the viewers with time to ponder over the significance of the act that is being performed. Water, reflection, and decay are some of the elements that are woven throughout the film in the same way as Tarkovsky did. Water pours through the ceilings, fountains erupt, and puddles of water reflect the sky above them in a visual language of impermanence and reflection. Each shot is crafted to allow the observer to enter into the space and share in the emotional and philosophical undertones that are at play within this moment. These takes are not lingered within terms of pacing; instead, they offer the observer the chance to participate within the sensory experience that is offered within the moment and celebrate the humanity that is contained within the context of the geographical and historical landscape. Similarly, the sound design of Nostalgia illustrates this concept. The fact that the ambient sounds, such as the footsteps upon the stone, the dripping water, and the blowing wind within the ruins, are more important than the dialogue illustrates the meditative nature of the film. The dialogue, where it appears, is occasionally minimal, asserting the loneliness of Gorchakov’s experience. The silence speaks louder than the speech, and it enables the audience to enter within a world of contemplation alongside Gorchakov. This story itself is impressionistic, blurring any lines that distinguish reality, memory, and the dream sequences. Gorchakov’s thoughts about his homeland, the letters, and the conversations within the Italians are interwoven with a series of pictures that decipher the physical and spiritual topography of his memories. The editing of Nostalgia by Tarkovsky is the filmmaker’s attempt at weaving a tapestry of images, each one chosen and scrutinized for the ability to release the sense of longing, memory, and spirituality.
The Elasticity of Time and the Resonance of Memory in Nostalgia
Time within Nostalgia is fluidic, symbolizing the nature of the memory itself, wherein the past is always present, and the sense of longing can both ground and upend the human spirit at the same time. Finally, Nostalgia is an extremely emotional and spiritual film experience instead of a solution to a cinematic problem. Gorchakov’s experience in Italy, through art, and then through the encounter with the madman, is brought together in a reflection on the nature of human existence and the eternal appeal of the concept of “home.” The film ends not on an answer or an understanding but on the resonance of introspection, leaving the viewer to ponder the conflict between the concept of beauty and the human experience of the search for something that is timeless. In Nostalgia, Tarkovsky reveals the power of cinema to capture the essence of the human experience through images and sound, making for a visually driven, contemplative, and human film. In every frame, in every detail, from the shine of the water to the texture of the ancient stones, there is a recognition of the transience of life and the timeless quality of memory. The film’s beauty is not merely in the imagery but in the power of the film to allow the viewer to exist within the space between action, thought, and emotion. It is a film that lingers long after the viewing experience is over, a tribute to the tremendous technical capability that Tarkovsky had and possessed the gift to transform the elusive and intangible notion of longing into cinematic reality.
