The clash of art, science and faith

Stalker (Russian, 1979)
Director: Andrei Tarkovsky

Now, what is the purpose of the arts? Are they there to entertain, to create an alternate universe for us to unwind from the real world. The world we live in is no pleasure cruise; hence an outlet is necessary to imagine something parallel reality in which we could star? Or is it a conduit for us to introspect what is in front of us, assess and make a better version of ourselves? 

Judging from how all the powers-that-be are fighting against each other to the last breath wanting to control the media, the arts are definitely a powerful tool in skewing the masses' minds towards a particular direction. Hollywood, CCP and the mainstream media want to push us in one order, whilst the other, in opposition to the powers-that-be, would draw to another. That is until the opposition comes to power. Their roles and choices will reverse.

I recently got introduced to the legendary Russian moviemaker and film theorist Andrei Tarkovsky. He is known for making extremely slow-moving movies that may immerse certain movie connoisseurs into the story's crux whilst being excruciatingly painful to the average Joe, who is too tired to appreciate the nuances of filmmaking. He uses natural sounds and lighting to give a more significant impact to his cinematography.

The story is usually pregnant with dream-like scenes that stay in viewers' minds for a mighty long time. It carries with it much metaphysical meaning that may mean different things to different people. This is the very thing that got Tarkovsky into trouble with the Soviet authorities. After 'Stalker', which took swipes at communism indirectly by talking about faith, Tarkovsky decided to emigrate. He made Italy and later Sweden his home.

The movie starts with the sound of vibrating furniture in response chugging of a passing train. He looks at his sleeping wife and the tween daughter napping between them. He quietly gets dressed to leave, but his wife awakens. She goes on a rant about how her life is miserable and how irresponsible of him to join the expedition. We gather that he had just been released from prison. He goes anyway.

The man is a tour guide, also locally referred to as a stalker, who brings tourists clandestinely to a high-security restricted part of the now closing-down town called 'The Zone'. 'The Zone' is said to have had alien visitations or may have been hit by a meteor, but has some special powers, especially in 'The Room'. That day, Stalker is supposed to take 'The Writer' and 'The Professor' to the 'The Zone'.

The rest of the story, which is supposed to be science fiction, tries to discover what goes through the minds of the three characters as they travel deep into 'The Zone' in search of 'The Room'. Stalker is the only person who has the know-how to wriggle around 'The Zone' because he follows certain rituals and believes in certain superstitions. He needs the money.

'Writer' has hit a low point in his writing. He hopes that by getting into 'The Room', his creative juices will start flowing all over again. 'Professor' wants to see, explore and debunk the myths surrounding 'The Room'. Later we discover that he plans to destroy it.

At the end of the show, it appears that this story is an allegory to faith and religion. It tries to pitch art and science versus faith. Many religious symbols can be picked up, for example, a thorn crown. The Stalker, who holds his faith dearly, in the end, finds resolution to all the quandaries that mired in his life - a handicapped child and an unhappy wife. 'Writer' and 'Professor' still carry on life without purpose, getting no benefit from visiting 'The Room'.

'Stalker' turned out to be a troubled film for Tarkovsky and his team. He had significant creative differences with his cinematographic editor. A large portion of his film reels was damaged because they needed special developing techniques. The area they were shooting is said to be a toxic wasteland, probably with radioactive materials, that gave cancer to Tarkovsky and his wife.

[P.S. Russia's filmmaking skills took a great leap forward when Nikita Krushchev took over the realms from Stalin in 1953. Reversing Stalin's xenophobic policies, he opened cultural exchange with many countries. India, the Soviet's ardent admirer, had a healthy joint development of its movies. Raj Kapoor's 'Mere Naam Joker' was an example of a Russian actress playing a significant role. 'Awaara', made in 1956, is said to be Russia's all-time favourite Indian film. Shri 420 comes a close second. 

Many Russians can still be heard to be humming to the tune 'Awara Hoon'. For the record, "Awara Hoon' is based on a Turkish folk song. There is a report of an unsuspecting Raj Kapoor once mobbed by a bevvy of Moscow girls. The star-struck girls stopped his cab and pulled him out of the taxi for a meaningful star-fan moment.]

Raj Kapoor in Moscow in 1967.
He was uprooted from his taxi when someone identified him as a Bollywood star!

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