Stalker by Hoel Jon;

Author:Hoel, Jon;
Language: eng
Format: epub
Publisher: Auteur Publishing

Deleuze, when he speaks of the indices11 disbursed by Tarkovsky throughout the film, is speaking of his films as successfully immersing their audiences in the immanence of narrative, in the time of the film. Tarkovsky succeeds with that pressure of time as utilized in the Zone—it becomes more than a measurement of distance or narrative. The lethargy of the journey is useful in the process of deconstructing a more conventional film-time depiction; when the trio stops to rest frequently, when they move around easier pathways and slowly tie the cloths to the metal nuts.

Stalker himself, is aware of these unnatural feature elements of the Zone. Pointedly, in their journey he cautions his companions to try and embody the past: ‘When a man is born, he is weak and supple, when he dies—he is strong and callous… suppleness and weakness express the freshness of living. That is why what has hardened will not win.’ And then again as quoted on the verge of the Room: ‘… Concentrate and recall all of your past life. When a person thinks of his past he becomes kinder.’ Outside the world of the Zone, this is a peculiar claim. From what we understand psychoanalytically regarding inherited traumas and the intergenerational nature of grief, it’s not difficult to object to, or at least find difficulty with this claim—Writer clearly agrees with this dissuasion as he remarks coldly that remembering his past will hardly make him kinder. Regardless, the Room will certainly work better for you, if you’re certain…

…If that is, the Room works at all, which again, remains unknown. Tarkovsky consistently dismissed the Zone and the Room again and again, leading viewers to question the Zone as just a big swindle. Tarkovsky is on the record giving contradictory explanations: ‘The Zone doesn’t exist. Stalker himself invented the Zone. He created it, so that he would be able to bring there some unhappy persons and impose on them the idea of hope. The room of desires is equally Stalker’s creation, yet another provocation in the face of the material world’ (Cosse, 169). But he also said, in a separate interview, ‘…In the Strugatsky story, the desires were truly fulfilled, whereas in the script this remains a mystery. You don’t know whether this is true or whether it’s the Stalker’s fantasy. For me as the author of the film, either choice is OK’ (Tassone, 55). It’s not so clear if we can take either of these claims at face value though, or if it’s Tarkovsky toying with media journalists, who he does not respect. Because of all the substance built up around the Zone—the military barricade and known existence of the Zone by the common populous—we can at least assume that if the Zone is fictive, then it is a fiction unknown to an entire generation or even generations of believers, including Stalker himself, whose daughter may or may not have been crippled and gifted with telekinetic abilities by the Zone. Tarkovsky certainly enjoyed being adversarial in his

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