A Infância de Ivan

Tarkovsky appeared dismissive of this, his first feature, saying it was the sort of project dreamed up in film school pool halls. It was not a film he himself instigated, but it cannot for a moment be described as uncommitted or pedestrian. It most closely resembles some of the other 'names' in purely artistic cinema of the day in terms of formal style, Tarkovsky having not at that point worked out his own unique and so far inimitable 'style', if that's the right word. The dream sequence with the apples, though brilliantly done, seems derivative. He never used optical flourishes like that again.

Tarkovsky believed a great deal of editing for the audience was vulgar and inimitable to great art, but this film is quite structured and conventional compared to his later slower and arguably more obscure works. The key performance comes from Ivan himself, a fine effort from one so young, and indeed Tarkovsky used him again in the bell section of Andrei Rublev; although he used rather harsh methods to get the performance he wanted in that case. Obviously influenced by Dreyer, you see the beginnings of Andrei's obsession with water and it's reflective calm around more tempestuous events. His use of black and white stock in terms of lighting is exemplary.

The film's title is ironic as Ivan does not have a childhood, but the films majestic and moving final shot suggests that Ivan does receive a kind of immortality beyond the bleak finality of his discovered photo in Berlin, that the Russian spirit itself cannot be stifled and will ultimately run free.

And not just as a feature film debut, but Ivan's Childhood is a truly great film in its own right, and perhaps the most accessible of Tarkovsky's films(being his shortest and briskest). Tarkovsky is not at his absolute best here in the sense that his style was still settling and he went on to even better things(Andrei Rublev gets my vote as the greatest Soviet film ever made). This may sound like a knock but it isn't, even when Tarkovsky is not at his finest he is much better than most other directors when not at their best and Ivan's Childhood is still beautifully directed, up there with one of the better feature film directorial debuts.

Tarkovsky's films are among the most visually beautiful I've ever seen and Ivan's Childhood is not an exception. The cinematography from Vadim Yusov is gorgeous and evokes chills, there is a dream-like quality to it but also a hard-edged realism. The use of landscapes is wonderfully Expressionistic, making the real-life sequences even more hard-hitting. The music score is haunting and the film is written in a thought-provoking way that wrenches the gut and breaks the heart. It isn't a Tarkovsky film without memorable scenes and images and Ivan's Childhood has those certainly, the dream sequences make the film(i.e. Ivan and his sister on the apple cart in the rain) but standing out too are the magical birch forest scene, the emotionally harrowing scene in the dark house and especially one of the most heart-breakingly powerful endings ever. What's remarkable is that while the story sounds simple, there are several characteristic Tarkovsky themes for so early on his career and when it comes to mood Ivan's Childhood works amazingly.

Furthermore the story of Ivan's Childhood is incredibly touching, the childhood scenes are the epitome of innocence in a heartfelt, sometimes entertaining and charming way and in complete contrast(without feeling like two different films) the effect of the war and combat is both grotesque and poetic. The characters are interesting and vibrantly portrayed, although Masha is a little one-note for my tastes, Ivan is a compellingly real character who is easy to identify with from the get go. The acting is very good, outstanding in fact in the case of Nikolai(Kolya) Burlylaev who gives one of the best child performances I've ever seen on film. Overall, for a directorial/feature film debut Ivan's Childhood is incredible and as an overall film it's near-masterpiece quality. 9/10 Bethany Cox

The first full-length feature film by the great Russian director Andrei Tarkovsky caused a sensation when it was released and shown at Venice Film Festival in 1962 where it won the Golden Lion. The world had not seen such a powerful motion picture about war and what it does to the youngest and weakest - the children. It is a bleak, haunting and horrifying portrait of lost innocence and the childhood that was interrupted the very day the boy's family was murdered. Although Ivan survived physically, he was changed forever, not a boy but a man who looked in the eye of triumphant death and horror. The film introduces young Nikolai (Kolya) Burlyaev in the fascinating performance as Ivan. "Ivan's Childhood" is a screen adaptation of the story by a Russian writer Vladimir Bogomolov "Ivan" which is a fiction story but it is based on the real facts. Millions young boys and girls perished during the endless days, months, and years of the worst war of the last century. Bogomolov fought as a soldier during the WWII. He was only 15 years old but he had forged his papers - added two years, dropped from his school and joined the Army. He had been seriously wounded three times but survived and finished the war in Berlin - the 19 year old soldier with six medals for courage and heroism. He was a very good writer and I love his books "Moment of Truth" ("In the August of 1944"), and "Zosya" that were also adapted to very good movies in Russia.

(***** out of *****)

Ivan's Childhood is Tarkovsky's debut feature film about a 12 year old boy who volunteers to fight in the front lines against the German invasion because his family where murdered by Nazis. His size and height make him the perfect spy for the Russians as he slides his way across muck and swamp to bring back vital information about the German offence that no other man can achieve. At the same time his commanding officers object to this boy being used as a tool of war but have no control over the matter because of Ivan's convictions to bring down those that killed his parents.

Shot in beautiful monochrome the camera never ceases to capture nature, religion, dreams and love - all of which are major elements in any Tarkovsky film. This motion picture is one of the most stunning independent movies you will ever see.

Sometimes Ivan cries like the child he is but this is not because of the burden of war but because he can not do what he wants most - to avenge the death of his family. Other times he is like a General in the making - standing up to his commanders, spitting orders back at them, making other soldiers look pale in comparison and walking into the fray without any fear attached. The dichotomy of his fractured personality is evident the most when he is alone. One moment he is dreaming of his mother, the next he is stalking the ghost of a Nazi murderer in the room where he sleeps (which is one of the most disturbing scenes in this film).

The final sequence in the ruins of Berlin fully brings home the impact of the film's premise. This is a story about Ivan's Childhood and that is exactly what you get. Heart wrenching from the first frame to the last and never equalled. To think this was all made in 1962! Shocking cinema at its very best.

Like most films of Russian director Andrei Tarkovsky, My Name is Ivan (a.k.a. Ivan's Childhood), reaches out to the spirit within us. Based on a short story titled "Ivan" by the Russian author Vladimir Bogomolov, My Name is Ivan is a bleak but deeply moving film about a 12-year old boy whose parents and sister were killed by the Germans and is now a scout (spy) for a Red Army battalion. Alternating between idyllic dreams of childhood, nightmares of revenge, and scenes of war devastation, Tarkovsky creates a uniquely personal exploration of the effects of war on the mind and spirit.

My Name is Ivan is set on the eastern front during World War II. Ivan's (Nikolai Burleyayev) size allows him to slip behind enemy lines and obtain vital strategic information about German positions for the Russians. Burleyayev, who later portrayed Boriska in the bell sequence in Andrei Rublev, gives a truly amazing performance as young Ivan. As the film opens, Ivan wakes up jarringly from a poetic dream of his mother and finds himself in the attic of an empty windmill. Dodging enemy fire, he swims across a muddy swamp to reach a Russian bunker where the ranking officer, Lieutenant Galtsev (Yevgeni Zharikov), questions his credentials.

Ivan is short-tempered and speaks to the Russian commanders with bravado unusual for someone of his age. The officers, however, take an interest in Ivan's welfare and provide him with love and protection. When they plan to send him to a military school, Ivan demands to be sent back to the front, seeking to revenge his parent's death. Unable to persuade his superiors, Ivan runs away but finds only desolation and returns to camp. Despite the officers' objections, Ivan is sent on another covert operation.

Tarkovsky shows us war but without bombs or glory or battle scenes -- only the suffering spirit of a child devastated by loss. As the film progresses, it becomes more and more an internal map of Ivan's mind. Haunted by the demons of approaching death, he seems to become emotionally inert. Tarkovsky said about the film (as quoted in amazon.com): "I attempted to analyze the condition of a person who is being affected by war. When personality is disintegrating then we have the collapse of the logical development, especially when we are dealing with the personality of a child. I always conceptualized Ivan as a destroyed personality pushed by the war from the normal axis of development."

Though an early film, Ivan presages Tarkovsky's later work with the use of hallucinatory camera work and very long takes where nothing happens for several minutes. Using dream sequences of normal life juxtaposed with mud-splattered reality, the film is suffused with an air of melancholy and longing. In a memorable dream sequence (supposedly lifted from Dovzhenko's "Earth") Ivan and his sister ride in a cart loaded with apples, in the words of Gregory Pearce, "reawakens within us the longing for the lost purity of childhood". This is one casualty of war not counted in the statistics.