While I was visiting my bother in Palm Desert, we saw Andrei Tarkovsky’s Stalker, a film based on Arkady and Boris Strugatsky’s classic SF novel, Roadside Picnic. He did not like the film, which took 161 minutes to traverse a field and enter a building in search of a room.When one entered the room, one supposedly got all one’s wishes satisfied. Dan was bored by the film’s length, whereas I felt the film zipped by at light speed.
There is something about slow films, such as Carl Dreyer’s Day of Wrath and Ordet, Robert Bresson’s The Trial of Joan of Arc, and Yasujiro Ozu’s Tokyo Monogatari. The main characteristic of these films is a movement of spirit. If you follow this development, the film’s perceived slowness is imaginary.
In Stalker, one cannot just walk across the field and into the room. The interstellar aliens that landed in what is called “The Zone” change things around such that the stalker and the men who hired him to guide them must throw steel nuts bound in rags to check out the path ahead—and under no circumstances must they return the way they came. Several times, they pass a wall of old ceramic tiles, but in each case, the terrain around it is completely different.
I am not saying you will love the film. I certainly do. But my brother, who shares so many film tastes with me, did not.If you demand fast action, you had best stick with CGI and Marvel Comics adaptations. But if you let yourself be guided by one of the greatest directors who ever lived, and follow the story line carefully, you will become one of Stalker’s fans.