Film: Stalker
Rating: 2 Stars
It’s that time again. I’m ever so slowly making my way through the British Film Institute Sight and Sounds best films list. I’ve just finished Stalker, a 1979 film out of the Soviet Union.
Apparently, aliens have visited the Earth. They left behind an area where physical laws don’t always apply. There’s a room in this area that, whenever anyone enters the room, their most private wish will be granted. This area has been named the zone. The government has fenced off the zone and have set up patrols to keep people out.
As a result, a profession has cropped up that sneaks people past the fence and the guards and guides them through the zone. In the film, the person is called Stalker. Despite his wife’s tearful objections, he has agreed to guide two people into the zone. One is named the Writer and the other is the Professor.
The Writer has become embittered and disillusioned with writing and, more than that, with life. He considers it all to be dreary and boring. He apparently wishes to regain his genius. The Professor ostensibly wants to investigate the zone in the hopes that he will gain a Nobel Prize for his discoveries.
The Stalker successfully manages to bypass the authorities and infiltrate the Writer and the Professor into the zone. As an aside, I do have to say that security around the zone wasn’t exactly state of the art. He wasn’t particularly subtle or quiet but still managed to fairly effortlessly slip into the zone following behind a train.
While the environment outside the zone was a post industrial wasteland devoid of color, once inside the zone, all is lush and green. You still see the remnants of abandoned or broken technology, but for the most part wilderness has taken over. Because apparently the laws of gravity are variable and ever changing in the zone, the Stalker has to tie up bolts with strips of cloth and periodically hurl them forward to assess the state of the gravity in which they’re heading.
The three of them have to navigate a Meat Grinder, which is essentially a dark and dank long tunnel. Eventually they reach the room. There, the Stalker narrates the story of a previous stalker named Porcupine. Porcupine once sacrificed his younger brother. Haunted by the guilt, Porcupine entered the room resolved to save his brother. Instead, he found himself extremely wealthy. Understanding that his desire for wealth was stronger than his desire to save his brother drove Porcupine to suicide.
The Professor then announces his real intention, which is to explode a bomb that he smuggled in and destroy the room. He believes that no one should have the power to have their most powerful wish be fulfilled. The three of them fight over the bomb until the Professor changes his mind.
By this time, the Writer has also decided not to enter the room. After the long arduous journey, neither men actually go into the room. We never see the inside of the room.
The three return. The Stalker’s wife has forgiven him and tends to him as he collapses into bed. In a monologue, she explains that she knew that she’d have a hard life being married to an outlaw like the Stalker, but she had no regrets because she’d rather live an interesting life than an easy one. In the final scene, the Stalker’s daughter (who apparently has some disability with her legs) reads a poem and then psychokinetically moves glasses around a table.
And curtain.
So, why 2 stars?
Let’s start with the length. It’s something over two hours and forty minutes. Perhaps this is a sign of me getting old and my attention span deteriorating, but I’m getting increasingly disenchanted with films that need more than two and a half hours to tell their story. I’ve recently watched Oppenheimer and Killers of the Flower Moon, both of whom clocked in at over three hours. They were fine but, in both cases, I think that director hubris resulted in a film longer than necessary.
With Stalker, for over two hours of the running time, there are only three characters. It’s not as if a whole lot happens while they’re in the zone. They’ll walk a bit, then one of the three will go off on some philosophical monologue. They’ll walk a bit more and then another will have some thoughts that they feel the need to express. Rinse and repeat.
A common saying in film, being a visual medium, is to show and not tell. Well, in this film, it pretty much is all tell. Every time the camera moved into a closeup of one of the three, in the back of my mind I was thinking, oh boy, here comes another soliloquy. Not only that, but the director Andrei Tarkovsky is never content showing a quick closeup. Every closeup, even if it’s a reaction shot, seemed to have to take at least five to ten seconds. Accordingly, the film moved at a snail’s pace.
In Tarkovsky’s defense, he was aware of the criticism of the slow moving pace of his film. Hilariously, his response was:
The film needs to be slower and duller at the start so that the viewers who walked into the wrong theatre have time to leave before the main action starts.
A second beef that I have with the film is giving the character names of Stalker, Writer, and Professor gives it all of the subtly of John Bunyan’s Pilgrim’s Progress (with character names like Christian, Pliable, Obstinate, and Mr Worldly Wiseman). One of the themes is the conflict between art (Writer) and science (Professor). You hear the tired arguments of how science, through the act of measuring, somehow removes the magic of living. It’s mildly interesting that, by the end, both art and science seem to be at a dead end. Stalker, speaking to his wife, complains that the two men were empty headed and dead eyed and that it’s a waste of time to take people like that into the zone.
In other not so subtle filmmaking, everything outside the zone is filmed in tired sepia tones while the zone is vibrantly filmed in color. I imagine that this is making the point that we live in a world devoid of magic and life.
As I watched the film, there did seem to be a kind of echo back to Heart of Darkness. Like Conrad’s novel, this film is a long journey that abandons civilization in search of a deeper truth.
In other ways, I was reminded of a Grimm fairy tale. The three embark on this long mission wanting to have their most private wish granted. Along the way, they learn that maybe getting what you want isn’t always what you need. It might even have blowback consequences. At the decisive moment, even though going into the room was the sole purpose of the journey, none of them actually enter.
Finally, the room itself is a classic MacGuffin. A MacGuffin is a term most popularized by Alfred Hitchcock. A MacGuffin is a thing that propels a plot forward but ultimately proves to be unimportant or irrelevant. A classic MacGuffin is whatever is in the briefcase that Jules (Samuel L Jackson) is carrying around in Pulp Fiction. Here, the room is the entire reason for the journey and yet is never seen.
It could very well be that the director, Andrei Tarkovsky, is just not my cup of tea. After all, Stalker is not his only film in the BFI top 50. In fact, one of his films, Mirror, is even rated higher than Stalker. I watched it a couple of months ago. Not only did I also give it a paltry two star rating but I was so unenamored by it that I didn’t even bother writing an article about it.
Here’s hoping that there’s not a third Tarkovsky coming up any time soon.