Anatoly Solonitsyn

  1. Oleg Yankowskiy, Nostalghia, Italy-Russia, 1982.         Andrei Tarkovsky, hailed as the finest Russian film-maker since Sergei Eisenstein, was making his first film outside of the motherland. And that is what it and his future short life – was all about. “That state of mind peculiar to our nation which affects Russians far from their native land.” He never returned home and “the stifling sense of longing that fills the screen was to become my lot for the rest of my life.” The narrative (or dream?) follows a Russian poet and his Italian translator researching the life of an 18th Century composer in Tuscany. The poet was planned for Kaidanowsky (barred from leaving Russia) or Solonitsyn, who died prematurely from cancer. Italian money meant Marcello Mastroianni and Ugo Tognazzi had to be considered. There was a moment when the couple would be Jean-Louis Trintignant and Fanny Ardant but they switched to Truffaut’s finale, Vivement dimanche! A lucky break for Yankowskiy, making up for 1976 when Tarkovsky had offered him merely Laertes in a Hamlet staging, with the main role (then as now) given to his greatest rival, Solonitsyn. The director made one more film before his death in France in 1986. Ingmar Bergman hailed him as “the most important director of all time…. the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”

 Birth year: 1934Death year: 1982Other name: Casting Calls:  0