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The Sacrifice

Erland Josephson (Actor), Susan Fleetwood (Actor), Andrei Tarkovsky (Director, Writer), Rated:
PG
Format: DVD
4.3 4.3 out of 5 stars 353 ratings
IMDb7.7/10.0
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Format Multiple Formats, Letterboxed, Color, Subtitled, NTSC
Contributor Valrie Mairesse, Helena Brodin, Gurn Gsladttir, Sven Wollter, Susan Fleetwood, Andrei Tarkovsky, Michal Leszczylowski, Per Kllman, Tommy Kjellqvist, Filippa Franzn, Erland Josephson, Tintin Anderzon, Allan Edwall, Tommy Nordahl See more
Language Russian
Runtime 4 hours and 6 minutes
Color Color
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4.3 out of 5 stars
353 global ratings

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Top reviews from the United States

  • Larry L. Looney
    5.0 out of 5 stars TARKOVSKY 'LIGHT'...?
    Reviewed in the United States on September 26, 2003
    Verified Purchase
    ...that seems to be the opinion of some reviewers. This film - Tarkovsky's final work - is certainly more accessible than his others, more straightforward in its storytelling...but there's a lot of wonderful elements involved, and it certainly doesn't deserve to be relegated to the 'minor works' category. Other reviewers have also drawn comparisons between this film and the work of Swedish director Ingmar Bergman - there is some of Bergman's 'look' to the film, perhaps because Tarkovsky chose to work with Sven Nykvist, who worked on several of Bergman's films. Even with this 'Bergmanesque' presence, this is definitely Tarkovsky's film - and if it's more accessible than some of his other works, perhaps it's a good place for someone who is unfamiliar with his work to start.
    Several of Tarkovsky's favorite themes are present in SACRIFICE - alienation, an aching emptiness of the spirit, the slighting of nature by mankind. Erland Josephson portrays Alexander, a wealthy, semi-retired writer who lives with his wife, teenage daughter and 'Little Man', his young son, in a lovely house that sits rather isolated on the seaside in Sweden. His young son is obviously his favorite, the center of his soul and existence. We see him with the little boy, planting a tree, telling him a story about devotion to duty involving a young Japanese monk and his master.
    Alexander's birthday is at hand, and his family, along with a couple of friends, makes ready to celebrate. As the group awaits dinner to be served, there is a roaring - like a low-flying jet - in the sky, followed by what appears at first to be a mild earthquake. A ceramic milk pitcher vibrates its way off a shelf, shattering on the floor - news broadcasts on the television indicate that World War III has begun. Each of the characters reacts in their own way - Alexander's wife falls to pieces and requires a sedative from their friend Victor, a doctor. Alexander is shaken as well - but he's not sure what to do. He has lost his faith several years before, and yet he finds himself begging God to reverse the horrible events unfolding on the television screen. In one of the film's most poignant moments, we see him drained of strength, falling on his knees, barely able to speak, praying with all his might. He attempts to 'strike a bargain' with God, offering to give up everything - his home, his belongings, his family...even Little Man, his beloved son, if the world can be 'put back like it was before'.
    In a conversation with his friend Otto, the postman, Alexander learns of Otto's suspicion that Maria, one of Alexander's servant girls, is a witch - and Otto suggests that if Alexander goes to Maria and sleeps with her, she has the power to reverse the horrible events. In his desperation, Alexander succumbs to Otto's suggestion - he never voices his request to Maria, but she sees the pain in his eyes (and in his actions) and takes him to her bed in an attempt, I think, simply to comfort him. This scene - like lovemaking scenes in all of Tarkovsky's films, when they occur - is photographed beautifully and tastefully. Tarkovsky never stooped to gratuitous or graphic sex or nudity. We see the couple lie down, embrace - and levitate, floating gently into the air, a lovely, tender visual rendition of the healing power of love.
    You'll have to see the film in order to find out if Alexander's efforts - in either theatre - are rewarded. I don't want to spoil anything for the potential viewer. Suffice to say that even as the film ends, the viewer is left with as many questions as answers - and that's one of the things I find so stimulating and rewarding about Tarkovsky's work. I can't give anything I've seen by this director less than five stars - and while this might not be quite on the same levels as his other films, it's still head and shoulders above the commercial films coming out of the major studios.
    42 people found this helpful
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  • Nate
    5.0 out of 5 stars Is there hope for mankind? Visually stunning and profound meditation on faith, doubt, love, deceit, war, madness and redemption
    Reviewed in the United States on January 14, 2010
    Verified Purchase
    On the morning of his birthday, Alexander takes his young son ("little man") for a walk and plants a tree. It is no ordinary tree, but a tall dried out sprawling limb, supported by stones. Alexander tells his son that a single act, repeated daily, can change the world, and tells him the story of a monk who brought a tree to life by his daily watering and devotion. Events that unfold later that evening, raising the specter of a nuclear holocaust, suggest the possibility there won't be time to carry out any such plans. Alexander finds himself faced with a choice. Is he willing to make a leap of faith, a Faustian bargain - with God, perhaps? - to save his family?

    Andrei Tarkovksy's final film, completed from his death bed as he died from lung cancer, is perhaps his most philosophically complex, and shows him at the height of his powers as a filmmaker. With cinematographer Sven Nykvist, the Ingmar Bergman favorite, Tarkovsky created some remarkably subtle and beautiful and provocative imagery, that cannot help but unsettle the viewer, and raise questions about the relative merits of intellect and conviction, of individuality and community, of realism and superstition. Like his previous two films, Stalker and Nostalghia, the film focuses on a troubled individual at the crossroads, doubting the moral validity of his life, and then faced with a choice to either act upon faith, where the task appears outwardly absurd but may make all the difference, or to refuse and rest secure in doubt and uncertainty.

    The film looks good in this dvd release, though as others have noted the colors seem a bit muted and shadow details are lost, especially inside. I have seen this twice projected from a 35mm print and even where the print I saw was somewhat damaged I remember it to have been more vibrant in the color scenes and more detailed in black and white. I understand there are better dvd transfers of this film available elsewhere (notably the Swedish version), but this is much better than the older VHS version and as good as it is likely to get in the United States unless Criterion is able to take it on (there are rumors), and even in this version it's hard to miss the power of the visuals and the richness of the ideas raised by the film. One nice bonus included with the Kino version (this one) is the very fine documentary "Directed by Andrei Tarkovsky" that reveals a good deal about his filmmaking process as it covers his work making "The Sacrifice" - and includes several of his personal thoughts on cinema as Brian Cox reads passages from Tarkovsky's Sculpting in Time. Highly recommended.
    15 people found this helpful
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  • martinramsay
    5.0 out of 5 stars the sacrifice
    Reviewed in the United States on January 16, 2012
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    Tarkovsky's last film is made in Sweden. At the heart of the film is the relationship between a father and his son. The background is the cold war fear of nuclear annhilation. The isolated setting on the coast draws out these fears. As well as Alexander and his son, the cast includes the mother, who is an actress who has left England, and a doctor who carries a pistol in his bag and hypodermic needles which are useful to allay the fears of the women and the boy after a television broadcast announcing the beginning of World War Three. The sound of screaming jets flying low overhead punctuate the film at regular intervals. The postman, who likes to discuss Nietzsche, suggests to Alexander that if he sleeps with his maid, a witch, the world can be saved. Alexander believes in his torment that this is, in fact, the only way to save the world. He dabbles in the arts and philosophy and quotes a Buddhist text as he and his son plant a tree at the start of the film. At the end of the film, Alexander burns down the house and is taken to hospital. His madness is complete. The sense of crisis, however, seems to have passed but their story is offset by black and white images of chaos; streets filled with burning cars and a crowd of people running in random directions. These interludes, filmed by Sven Nykvist, are poetic renditions of desolation and despair that give the film a beautiful but haunting quality.
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  • effe ci
    5.0 out of 5 stars Ultimo (grande) film di Tarkovskij
    Reviewed in Italy on October 10, 2019
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    Ultimo film di Tarkovskij, alquanto dimenticato, rispetto a quasi tutti precedenti (“Nostalghia” lo è forse ancor di più, soprattutto fuori dall’Italia). Si conosce soprattutto la sequenza finale dell’incendio della casa, che praticamente si identifica con il film, pur non essendo, a mio parere, quella meglio riuscita - ce ne sono diverse, prima, di forza travolgente. Girato in Svezia, con Sven Nyqvist, direttore della fotografia di Bergman per antonomasia, viene spesso, impropriamente, definito come ‘bergmaniano’, anche per la presenza di un celebre attore di Bergman, Erland Josephson (già protagonista del precedente film ‘italiano’ di T.), oltre all’ottimo Allan Edwall, meno noto ma presente in più di un grande film dello svedese. In verità è classico Tarkovskij, ma con qualcosa di nuovo e di diverso rispetto ai suoi film precedenti. Edizione eccellente questa inglese di Artificial Eye, in lingua originale (svedese) e sottotitoli in inglese. Non credo esista un’edizione italiana, ma pazienza, grazie ad Amazon si può avere questa ad un prezzo accessibile.
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  • 外山　信夫
    5.0 out of 5 stars タルコフスキー監督の最高傑作
    Reviewed in Japan on October 8, 2023
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    主人公の召使いマリアが、主人公の傷を丁寧に洗う場面が印象的。彼女が、マグダラのマリアであることを暗示している。
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  • Boydon Boydon
    5.0 out of 5 stars The Quality Returns for a Splendid Finish
    Reviewed in the United Kingdom on October 5, 2016
    Verified Purchase
    This is the seventh and final of Artificial Eye’s complete Tarkovsky feature films on blu-ray for the Region B market (see also my reviews of Ivan’s Childhood, Andrei Rublev, Mirror, Solaris, Stalker & Nostalghia).

    Extras include a 40-page booklet, as always very readable, but let me start, as promised in my last review, with an appraisal of Mary Wild’s ‘Andrei Tarkovsky’s Metaphysical Dream Zone’ which is a 7-part series, concluding on this release.

    Subjecting Tarkovsky to a sort of Freudian analysis does lead to some fascinating insights and appreciation, though I suspect he himself would be somewhat bemused by the process. Ms Wild knows her subject, has clearly put in a lot of work on the project, and obviously has a real love of Tarkovsky’s films. Using various scenes from each of the seven films to present her views, the cumulative effect of the complete series produces a very interesting interpretation of the imagery, style and content of his work, which I personally found to be insightful and intriguing.

    The big problem for me is Ms Wild’s narration. We get distractions: a somewhat hesitant delivery with pauses in odd places, the frequent use of irritating uplift (or up speak) and a clear example of the fact that authors are not always the best presenters of their own material. A written copy of her text may have helped, but I feel that anyone unfamiliar with Freud or psychoanalysis could quickly lose interest. A great pity as the material is, as I mentioned above, otherwise excellent.

    Much clearer is the also included video essay ‘Poetic Harmony’, written and narrated by Lewis Bond, which I found to be heartfelt, informative, succinct, and a persuasive advert for those yet to discover Tarkovsky for themselves. You can preview it yourself on YouTube – find it under Channel Criswell.

    But the real gem of the extras is the feature commentary by Layla Alexander-Garrett, who acted as Tarkovsky’s interpreter and assistant before and during filming (she is often glimpsed during the documentary ‘Directed by Andrei Tarkovsky’), and James King from Curzon putting pertinent questions. Full of fascinating eyewitness accounts of the filming, this is a valuable and unique addition to the series. I must add that the documentary ‘Directed by Andrei Tarkovsky’ included on the original AE DVD, would have made a welcome addition to this set, but it is available in many forms elsewhere, and is probably already owned by those who appreciate the Director.

    Regarding the film itself, AE have served us very well indeed: comparing with my other blu-ray edition, (Kino Lorber), it is immediately apparent that the AE disc has real improvements to the image. This looks and feels much more like film, is free of Kino’s digital artefacts (for which the release was criticised) and so generally looks far better. I was often surprised at the extra and clear detail – digital sharpness sometimes gives the impression of improvement, but AE seem to have achieved this without compromising the real image quality. I’m not claiming that everything is perfect – the colour palette may not appeal to all tastes, but I find it pleasingly natural and much more satisfying than the Kino release or AE’s original DVD

    Again, the bit-rate is high, a good 25% up on Kino’s, the sound is a more than adequate LPCM 2.0, and the sub-titles, which I think are almost identical to the original AE DVD, have a pleasingly literate feel.

    As always, I mark on the film itself, and this has to be five stars, as I consider this the best edition currently available to the region B area. Together with the commentary, this is a ‘must have’ for any Tarkovsky film collector.

    With this final release, we come to the end of a mixed set of new Tarkovsky editions. Yes, Stalker was disappointing and Nostalghia slightly less so, but generally we have a very welcome addition to what has been a rather neglected market, and I personally have thoroughly enjoyed a fresh look at seven cinema masterpieces. A big thank you to all who have voted my reviews as helpful.
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  • Beatrice Stefanie
    5.0 out of 5 stars Empfehlenswert
    Reviewed in Germany on July 24, 2021
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    Das ist meine dritte DVD des Films OPFER von Tarkovsky. Die erste habe ich auf Schwedisch, die zweite auf Schwedisch mit deutschen Untertiteln und diese jetzt - endlich - mit deutscher Synchronisation. In der Beschreibung wird leider nicht angegeben dass man eine deutsche Synchronfassung anklicken kann. Deshalb für Interessierte: Hier gibt's eine deutsche Fassung, viel besser als immer auf die Untertitel achten zu müssen. Super !!!
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    Beatrice Stefanie
    5.0 out of 5 stars Empfehlenswert
    Reviewed in Germany on July 24, 2021
    Das ist meine dritte DVD des Films OPFER von Tarkovsky. Die erste habe ich auf Schwedisch, die zweite auf Schwedisch mit deutschen Untertiteln und diese jetzt - endlich - mit deutscher Synchronisation. In der Beschreibung wird leider nicht angegeben dass man eine deutsche Synchronfassung anklicken kann. Deshalb für Interessierte: Hier gibt's eine deutsche Fassung, viel besser als immer auf die Untertitel achten zu müssen. Super !!!
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  • icewear33
    5.0 out of 5 stars Vous n'avez pas compris ce film
    Reviewed in France on February 13, 2012
    Verified Purchase
    Bonsoir, je lis qu'un internaute trouve le film "ennuyeux". Je l'ai vu quand il est sorti ado finissante, bouleversée; et je peux dire que vous n'avez pas la culture cinématographique ni probablement pas la bonne sensibilité pour affirmer "l'ennui" de ce film, que je viens de commander sur Internet : il faut imaginer l'âme russe ou nordique, les angoisses liées à la guerre froide et à l'Apocalypse possible (la fin du monde), celles liées à la vieillesse, saisir la poésie de l'oeuvre dans sa lenteur : ce n'est pas un film facile, c'est un film mystique et exigeant, où si je me souviens bien, Dieu n'a pas sa place (en tout cas pour le héros), ce qui encore plus lourd à porter. C'est un film existentiel SUBLIME, que je regarderai avec 20 ans de plus sous peu grâce au net, avec le film Melancholia dans la foulée. Cordialement malgré tout.
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