yes, i think both men had much in common - the exploration, a spiritual search. Tarkovsky's zone has something in common with the city in Bergman's The Silence, i think.
And just as Bergman could dread the Spider God (it's in Persona also) so too Tarkovsky and the sense of dread within the Wishing Room... and the sheer alien-ness of the Solaris entity.
Just as the spider may come from the woodwork for poor Karin, so the dreadful phone can ring in Stalker and without warning or logic.
Ultimately i would say that Tarkovsky and Bergman despite their ambivalence (expressed through lost and wandering and/or damaged characters) are ultimately looking for contact and healing. Tarkovsky sees this is being paramount for humanity as much as any individual.
Of course the works contain more than this - i don't intend a reductionist reading. And the saddest part of Tarkovsky's early death is that his dialog was cut short - Bergman was privileged to be able to use film as a means to wail, celebrate, and contemplate even into old age.
no subject
And just as Bergman could dread the Spider God (it's in Persona also) so too Tarkovsky and the sense of dread within the Wishing Room... and the sheer alien-ness of the Solaris entity.
Just as the spider may come from the woodwork for poor Karin, so the dreadful phone can ring in Stalker and without warning or logic.
Ultimately i would say that Tarkovsky and Bergman despite their ambivalence (expressed through lost and wandering and/or damaged characters) are ultimately looking for contact and healing. Tarkovsky sees this is being paramount for humanity as much as any individual.
Of course the works contain more than this - i don't intend a reductionist reading. And the saddest part of Tarkovsky's early death is that his dialog was cut short - Bergman was privileged to be able to use film as a means to wail, celebrate, and contemplate even into old age.