The Steamroller and the Violin (Andrei Tarkovsky) 1960
The Steamroller and
the Violin, a student film made by the great Russian director Andrei
Tarkovsky, is a student film first and a Tarkovsky film second. It eschews the
majority of the director’s later distinctive style, adopting instead the tone
of a treacly mid-‘90s Miramax foreign film release. The movie ponderously
adopts the point of view of Sasha, its 7 year old protagonist, as he goes to his
violin lessons then strikes up a friendship with a steamroller operator. The two
of them must be meant to represent archetypical embodiments of art and commerce,
but the film never does much to expand on their relationship in a meaningful way
after setting it up, besides noting that both of them are equally industrious.
Mostly, the film plays out like a typically unlikely “child befriends an adult
and enriches him” story. They spend an afternoon together, and though the time
passes by pleasantly enough, the viewer will most likely be thankful that the
film is just over forty minutes long instead of expanded into feature length.
I suppose in many ways The
Steamroller and the Violin is Tarkovsky’s most accessible film – it’s
emotionally accessible and the plot is bluntly straightforward – but it’s
also his least rewarding work. Tarkovsky would later prove himself to be a
visual storyteller of remarkable prowess, but here it seems that he’s not yet
capable of conceiving truly striking images. Whether that’s due to his
inexperience in filmmaking, the relatively empty-headed material he’s
tackling, or the budgetary constraints he was probably dealing with is up to
debate, but in any case the resultant images are generally underwhelming. Scenes
showing the destruction of a building during a rainstorm, the reflection of
light off water cast upon the walls around the characters, and a close-up of a
ripple in a puddle seem to hint at the themes of the natural world’s presence
in the human psyche that would later dominate much of Tarkovsky’s work, but
ultimately end up feeling more like simple spectacle that thrills the boy at the
center of the story. Some simple tracking shots hint at the filmmaking language
that Tarkovsky would eventually master, but they’re hardly revelatory when
looked at outside of such a historical context. It’s telling that in the
film’s climatic moment, when the boy plays his violin for the steamroller
operator, it has little impact. It wants to transcend the moment, but the movie
doesn’t really seem to have anything in mind that it wants to transcend to
besides a simple-minded fusion of their two ideologies. After this dramatic
letdown, the rest of the film peters out with little impact. The disappointment
that the boy feels during the ending moments strikes me more as incidental than
bittersweet. My own disappointment with Tarkovsky’s first effort seemed the
strongest emotional reaction associated with the film.