In the end, though, one last great Russian film was to emerge from those anguishing years of doubt and unrest: Stalker (1979), Tarkovsky’s fifth feature and the last he made in the Soviet Union before throwing in his lot with the West. And indeed, he did succeed in putting on an important production of Hamlet at Moscow’s Lenkom Theatre in 1977.

At a certain moment in the middle of the decade, Tarkovsky contemplated giving up cinema altogether in order to concentrate on making a career in the theater. Hoffmann, were met with obfuscation if not hostility by the bureaucrats in charge of Soviet film policy. New screen projects that he contemplated, such as an adaptation of Dostoyevsky’s The Idiot and a script based on the life of the German romantic poet E. His great autobiographical film The Mirror had been granted only a limited domestic release in 1975 and was not allowed to be shown abroad. To judge from his published diaries, the 1970s were a difficult period for Andrei Tarkovsky, full of anguish, heartache, and uncertainty.

Stalker you see ivan