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Format: Blu-ray

Stalker [THE CRITERION COLLECTION] [Blu-ray] [2017]

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Format: Blu-ray July 24, 2017


Description

Andrei Tarkovsky directs this Russian sci-fi drama about two men who are led to their innermost dreams in a strange place once inhabited by aliens. A Stalker (Aleksandr Kaidanovsky) leads writer Pisatel (Anatoli Solonitsyn) and a Professor (Nikolai Grinko) through an industrial wasteland called the Zone, in search of a room where truth is contained and wishes are said to be granted to anyone who enters. As the area has been sealed off by the government, the pair put their faith in the Stalker as he navigates his way through the Zone and along the way they each discuss their reasons for visiting the room.


Aspect Ratio ‏ : ‎ 1.371


Product Dimensions ‏ : ‎ 6.69 x 5.31 x 0.47 inches; 3.17 Ounces


Media Format ‏ : ‎ Blu-ray


Run time ‏ : ‎ 2 hours and 41 minutes


Release date ‏ : ‎ July 24, 2017


Subtitles: ‏ ‎ English


Language ‏ : ‎ Russian (Dolby Digital 2.0)


Studio ‏ : ‎ Sony Pictures Home Entertainment


Number of discs ‏ : ‎ 1


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Top Amazon Reviews

    • A Venue For Endless Extrapolations
𝑳𝒆𝒕 𝒆𝒗𝒆𝒓𝒚𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒂𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒑𝒍𝒂𝒏𝒏𝒆𝒅 𝒄𝒐𝒎𝒆 𝒕𝒓𝒖𝒆. 𝑳𝒆𝒕 𝒕𝒉𝒆𝒎 𝒃𝒆𝒍𝒊𝒆𝒗𝒆. 𝑨𝒏𝒅 𝒍𝒆𝒕 𝒕𝒉𝒆𝒎 𝒉𝒂𝒗𝒆 𝒂 𝒍𝒂𝒖𝒈𝒉 𝒂𝒕 𝒕𝒉𝒆𝒊𝒓 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒔. 𝑩𝒆𝒄𝒂𝒖𝒔𝒆 𝒘𝒉𝒂𝒕 𝒕𝒉𝒆𝒚 𝒄𝒂𝒍𝒍 𝒑𝒂𝒔𝒔𝒊𝒐𝒏 𝒂𝒄𝒕𝒖𝒂𝒍𝒍𝒚 𝒊𝒔 𝒏𝒐𝒕 𝒔𝒐𝒎𝒆 𝒆𝒎𝒐𝒕𝒊𝒐𝒏𝒂𝒍 𝒆𝒏𝒆𝒓𝒈𝒚, 𝒃𝒖𝒕 𝒋𝒖𝒔𝒕 𝒕𝒉𝒆 𝒇𝒓𝒊𝒄𝒕𝒊𝒐𝒏 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒕𝒉𝒆𝒊𝒓 𝒔𝒐𝒖𝒍𝒔 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒐𝒖𝒕𝒔𝒊𝒅𝒆 𝒘𝒐𝒓𝒍𝒅. 𝑨𝒏𝒅 𝒎𝒐𝒔𝒕 𝒊𝒎𝒑𝒐𝒓𝒕𝒂𝒏𝒕, 𝒍𝒆𝒕 𝒕𝒉𝒆𝒎 𝒃𝒆𝒍𝒊𝒆𝒗𝒆 𝒊𝒏 𝒕𝒉𝒆𝒎𝒔𝒆𝒍𝒗𝒆𝒔. Stalker is a 1979 Soviet science fiction art drama film directed by Andrei Tarkovsky with a screenplay written by Arkady and Boris Strugatsky. The film tells the story of an expedition led by a figure known as the "Stalker", who takes his two clients—a melancholic writer seeking inspiration, and a professor seeking scientific discovery—to a mysterious restricted site known simply as the "Zone", where there supposedly exists a room which grants a person's innermost desires. It has been pondered at in length as to why 𝑺𝒕𝒂𝒍𝒌𝒆𝒓 from its source material in the capacity at which it does: a book entitled 𝑹𝒐𝒂𝒅𝒔𝒊𝒅𝒆 𝑷𝒊𝒄𝒏𝒊𝒄 by Arkady and Boris Strugatsky that were published in 1972. With a screenplay written by the Strugatsky duo, it may be difficult at first to infer the reasons for differences between the two: with there being major contrasts in the setting, narrative spectacle, and overarching character development. For starters, what is affectionately noted as ‘The Zone’ in 𝑺𝒕𝒂𝒍𝒌𝒆𝒓 is actually a collection of 6 different zones in 𝑹𝒐𝒂𝒅𝒔𝒊𝒅𝒆 𝑷𝒊𝒄𝒏𝒊𝒄; each of these 6 zones are isolated from one one another and under constant surveillance by governing officials (As they are in 𝑺𝒕𝒂𝒍𝒌𝒆𝒓) with entrance being denied by anyone not given special privilege or clearance to do so. This restriction on its own precedes the mystification of each Zones’ inhabitants (or, rather, contents), with time needed to fabricate its walls (which, is specified in 𝑹𝒐𝒂𝒅𝒔𝒊𝒅𝒆 𝑷𝒊𝒄𝒏𝒊𝒄) mirroring the erection of historically significant borders (IE: The Berlin Wall) either by design or total coincidence. Acting as an ideological separation from Socialism (and the like, as politics aren’t explicitly discussed, but alluded to in Strugatskys’ novel) the ‘Stalkers’ in both materials - cinematic and written - are conjoined by a commonality of goals (IE: Some semblance of psychological wealth secondary to rebellious survival) despite differences in their method or particular set of objectives over time. Presence within these Zones - residential or otherwise - is not without consequence, however, which brings us to the potential influence of an event known as the Kyshtym Disaster; ranking as the second worst nuclear event to occur after Chernobyl, this was a radioactive contamination incident which occurred on September, 29th, 1957 at a Plutonium production site in Chelyabinsk Oblast, Russian SFSR, Soviet Union. Having been built in haste with little ability to judge the safety of many decisions, an improperly stored tank of waste exploded: leading to a delayed (but forced) evacuation of the surrounding areas and little clarity regarding the full scale of destruction and damage done until as recently as 1989. Exiled from their homes and denied re-entry for no plausible or obvious reason, surrounding residents regularly conspired amongst themselves with the goal of obtaining more information: with some of the consequences linked to this radiation exposure being a rise in cancer diagnosis and a collection of potentially debilitating birth defects. Returning to the main attraction, however, it is in the pacing that 𝑺𝒕𝒂𝒍𝒌𝒆𝒓 deviates from 𝑹𝒐𝒂𝒅𝒔𝒊𝒅𝒆 𝑷𝒊𝒄𝒏𝒊𝒄 the most: And this is also the attributes likely to divide audience members between those that watch movies for the ride versus those that watch movies for the wonder. 𝑹𝒐𝒂𝒅𝒔𝒊𝒅𝒆 𝑷𝒊𝒄𝒏𝒊𝒄 distinguishes itself as being centered around the nuances that plague Redrick (This fiction’s ‘Stalker’, who more-or-less smuggles artifacts out of the zones as opposed to leading people into to them as a guide), and to a further extent paints a clearer picture of his life as it evolves over the course of approximately 8 years. Redrick is described as an ‘On again, Off again’ stalker, whos choice of occupation is largely tied to a responsibility to his family: A need that comes to justify his personal search for the ‘Golden sphere’, or the item in question (as opposed to location) that is believed to fulfill any one person’s deepest desires. This cinematic stalker is more altruistic - in spirit, anyway - who acts as a liaison between the zones people are from and the zones they actively pursue. Consequently, his cohorts are naturally combative, with the combination in this context (A writer and a Scientist) being a natural pull between objective and observable measures of truth or success. Moreover, their conflicts are further inspissated by conversations with intermittently nonsensical transitions (As the tone is subject to turning one a dime), shots that differ in the amount of space between viewers and the characters on screen, and periods of silence that seem to go on forever. (A quick note on the cinematography: Having been originally filmed on Kodak 5247, this stock was newer to Society laboratories at the time, with some of the original negatives being destroyed by a processing error. Part of the film had to be shot again, and having experienced a falling out with the original cinematographer on board (Georgy Rerberg), Alexander Knyazhinsky was hired in his place to replace the entirety of the shot material. This is one of many reasons why 𝑺𝒕𝒂𝒍𝒌𝒆𝒓 is divided into two parts, and further reason as to why 𝑺𝒕𝒂𝒍𝒌𝒆𝒓 strays further from 𝑹𝒐𝒂𝒅𝒔𝒊𝒅𝒆 𝑷𝒊𝒄𝒏𝒊𝒄 than most might expect) Whereas silence may torture some it can be a comfort to others, and being in the latter camp comes with its own set of advantages. The malleability of this mysterious zone (As it contorts to its ‘users’, if we can call them that) as if its an active antagonist personifies the space between the things people know and the things they have yet to discover: About themselves, about their place in the world, and about their relationship with other people outside of obvious or mundane obligations. Moreover, there is something powerful about the conviction in which its characters simply talk out loud, because even when their speech is without a clear target it is far from meaningless in terms of phrases that audience members may pick up on or relate more to than others. Even more powerful than that, though, is attentiveness with which characters listen without talking out of turn: who don’t obsess with fixing one another and simply moving on, and find ways to stew in their own misery without stirring up trouble for others. These characteristics parallel in a complimentary fashion with films that are notably philosophical to some and potentially patronizing to others - like 𝑻𝒉𝒆 𝑩𝒐𝒐𝒌 𝒐𝒇 𝑳𝒊𝒇𝒆, 𝑻𝒉𝒆 𝑺𝒆𝒗𝒆𝒏𝒕𝒉 𝑺𝒆𝒂𝒍, and 𝑾𝒂𝒌𝒊𝒏𝒈 𝑳𝒊𝒇𝒆 - with a bold rejection of nihilism in favor of of maintaining a level of curiosity about the world or environments that we are endlessly surrounded in addition to the ones that consume us. A scientist, a writer, and a stalker walk into a bar… Its a set-up that sounds like a joke that seems equally desperate for a punchline, bur 𝑺𝒕𝒂𝒍𝒌𝒆𝒓 succeeds as anything but. As with any piece of art inspired by tragedy it's a venue for extraordinary extrapolations: which, frustrating as this may be, is a worthy advisory for those that seem stunted or stagnate with little hope of reprieve. Leaning on intangible goals that are still worth pursuing, audience members can expect to be left with a collection of characters who are isolated in part by a sense of contempt while simultaneously maintaining a meaningful connection with others. Lonely as they - or anyone watching may be, for that matter - it’s no secret that misery loves company: And the least we can be is alone in all of this, together. ... show more
Reviewed in the United States 🇺🇸 on December 29, 2021 by Christina Reynolds
    • A stunning meditation on the nature of belief
I recently got into the world of Soviet cinema when I watched the 1986 sci-fi bizarro comedy "Kin Dza Dza" on Amazon Instant Video. Shocked by what a good feature it was, I searched for more Soviet science fiction and came across two films by the same director that stood out: "Solaris" and this film, "Stalker." I was a little underwhelmed by Solaris, don't get me wrong I liked Solaris a lot, but it didn't match what I expected it to be in my head. "Stalker," on the other hand, went way above and beyond my expectations. As you probably know, Stalker is a film about a sort of guide, called a stalker, who guides people through a surreal landscape sectioned off by the government due to its unpredictability called "The Zone," which was supposedly the sight of an alien crash landing some thirty years prior in this film set some time in the indefinite future. The stalker's job is to navigate the Zone because of its ever-changing nature and lead his clients to a place called "The Room," which supposedly grants wishes, or rather, makes whatever someone's deepest desire, whatever wish that has caused them the most pain-- make that dream a reality. As a result of this, no one leaves the Zone or the Room the same. The stalker in this movie guides two men going by the aliases of the Professor and the Writer through the Zone and to the Room in what becomes over a series of heated debates between the men leading up to the climax a stunning meditation on the nature of belief. The movie was filmed in the old USSR, where religion was banned. I'm not the most religious person in the world, I'll be the first to admit that, but the stalker seems to be a man of some faith, and is ultimately dismayed at the results of what he says at the end of the film will be the last time he guides anyone through the Zone. He swears he'll never take anyone to the Room again based on the end of his latest adventure because the people he guided there lacked the necessary belief to have their wishes granted, or maybe even the basic belief to even want to have their wishes granted. It's a stunning conclusion, and I'm trying to write it out with as few spoilers as possible, here, but I've already said too much. The film is beautifully restored in a 2K restoration and it was apparently filmed in 4:3 ratio, which I found a little confusing at first, but that's the way it's supposed to look-- if you have a widescreen TV, the black bars on the sides of your screen are normal. I was actually a little taken aback by this at first considering that "Solaris" was filmed in 2:39:1 or at least 16:9 and filled all or most of my television screen. But back in the 1970s and 80s it was not unheard of to film a movie in the 4:3 ratio because that's the same ratio that old TVs were back then. A good example of this is "The Shining," which was filmed in 4:3 and cropped to a more theatrical ratio, which is precisely why I haven't bought "The Shining" on Blu-Ray because all the Blu-Ray versions of "The Shining" are cropped to a 16:9 format from the original 4:3, but in the case of "Stalker" the original aspect ratio is retained and restored in beautiful 2K. The special features didn't speak a whole lot, which is sad considering this is a Criterion Collection Blu-Ray, there were a few interesting interviews from 2002 with some of the people who worked on some of the more technical aspects of the film, but nothing with any of the actors which I assume is because many people involved with direct production of this film got sick from the heavy pollution surrounding the outdoor sets, some of whom even died, including the director. But there's also an interview Geoff Dyer, who's like a superfan of the movie and wrote an entire book about it, but nothing in particular that I found extremely enlightening. This was also the case with the Solaris Blu-Ray-- which I also found sad, aside from the great restoration done on the film itself. So this Blu-Ray is really more about the feature itself than the supplements which are usually the highlights of a Criterion Blu-Ray. All in all, this is a thinking man's movie. I wouldn't recommend it to the casual moviegoer because they're likely not to "get" it. If you liked "Solaris" chances are you'll like "Stalker" even more. It's soft sci-fi bordering on fantasy but sci-fi nonetheless. It was made in a world where all direct talk of gods or God was strictly forbidden and does a great job at getting around that by having several discourses on the nature of God, faith and belief or lack of belief. I watched this film back to back with "Solaris" and that makes for an excellent double feature and if you buy this Blu-Ray, you should probably also buy Solaris on Blu-Ray because as I said, they go well together. But to sum up this review, "Stalker" is a stunning meditation on the nature of belief and what it meant to be a believer in a world that had outlawed believing. ... show more
Reviewed in the United States 🇺🇸 on June 29, 2018 by Serum

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