Gloede_The_Saint The film follows two orphans, a sister and her younger brother, separated when the youngest is stolen for his magical ability to feel gold, something which at the same time tortures the young boy. The sister runs, looks, even sees him at a distance, but her struggles only continues. Luckily she gets aide from a philosopher and healer, who in many ways serves as the film's main comic relief, but his journey is not a happy one either. From the very beginning, as the camera closed in on the town, as the music played, as the colors exploded, I knew I would love this film. Almost every frame was perfect, and they drew up the magical world we are visiting in the most perfect way imaginable. This is a beautifully dark and twisted fairytale, in the way only Eastern Europeans can make them. It created it's own world with an amazing eye for details, and managed to be absurd and funny, at the same time as it told a very, very bleak story. It could be described as an odyssey, a tragic chase, a voyage into strange lands, and visions we will see. And beyond it all, there is color. Nearly every image seems perfectly crafted. The full glory of soviet cinematography. It was so masterly directed and shot I bookmarked all films directed by Aleksandr Mitta, and even looked into other films by the cinematographer, Valeri Shuvalov. Two names I had never heard of before. This was a truly amazing discovery, and I can't wait to search out more.

avichi I have not much more to add to the reviews - this movie gets a 10 from me. This flight episode, together with Tarkovsky's flight episodes from "Andrei Rublev" (opening) and "Solaris" (closing) is IMHO the most moving and inspiring moment in film history.A small remark for the former Soviet citizens among you;-)Has anyone also felt some well-concealed allusions to the life behind the Iron Certain as much as I did in the episode with Don Quixote and the knights on top of the dragon? Just like in a "communist" system, for many it was actually quite warm and sweet while for some it was not quite as easy to get out as it was to get in (most likely the same could be said about a "capitalist" system too though). I think such allegories were quite common in Soviet movies and it is often a sport to find and interpret them.

Galina I have not seen this wonderful movie for almost twenty years but my dear friend sent me last night the links to some scenes that feature the soaring score by incomparable Alfred Schnitke and watching them for over and over took me back in time to the world that has gone but always stays with me - the world of memory. I was surprised how well I remember "Skazka Stranstviy". I even remember how I watched it for the first time in the Moscow Theater, and how unusual, dark, scary, philosophical yet uplifting it was. Its look reminds the paintings of Pieter Bruegel the Elder and Hieronymus Bosch at their gloomiest and grimmest. Its spirit is not always optimistic or suited for young children but Tale of the Voyages is dramatic, intense, even tragic but always poetic, moving, and spiritual - not unlike Hans Christian Andersen's tale of the voyages, "The Snow Queen". "Skazka Stranstviy" is the story of a young brave girl Martha and her search for the lost little brother Mai who possessed a gift (or a curse) of finding the buried treasures and who was kidnapped by the villains many years ago. On her long search, Martha becomes friends with a poet, visionary, and genius inventor Orlando, and together they would visit many dangerous places and encounter disasters and miracles including plague, betrayal, fears, loyalty, courage, flying, and death... It's been said a lot about Alfred Schnitke's truly breathtaking score which makes you want to fly so high that not even the "highest-flying birds of memory" and regrets could reach you. I read from the other reviews that that this skazka is not a regular fairy tale - it depends on what we call a fairy tale. If you think of them, fairy tales, the unabridged versions of them are often scary, graphic, disturbing, violent, bloody, gory, and fascinating. Brothers Grimm's, Hans Christian Anderson's, Oscar Wilde's fairy tales, myths and legends of ancient Greece - there are elements of pure horror and tragedy in these fairly tales. "Skazka Stranstviy" reminds more of these classics rather than their Disney's adaptations, and that makes it unforgettable watching (and sound) experience that the viewers remember many years after they saw it and want to compare their impressions as adults with those from their childhood. Andrei Mironov (Orlando) proved once again what huge talent he possessed and how much he could've done had he not died untimely at the age of 46 in 1987.

sherri_bailey9 One reviewer said that you won't want to watch this film twice, because it is so dark. And she was right. Ironically, over the summers of '83-84, this movie was shown CONSTANTLY at my camp, which was located in New York for all Soviet kids. I guess because we had so few Soviet films in our library. And yes, the scene with the "chuma" -- plague -- I had to watch, through my fingers -- more than once. This movie was so horrifyingly scary for a child, so dark and unbelievable that I would have rather watched "Hellraiser" at that age. No joke. Yes, the special effects are silly, but they're beside the point. From the scene in which Marta's brother is kidnapped (absolutely chilling) to the journey through the dark plague-ridden land (really, beyond words) and many other scenes, the film never ever lets you off the hook. There are some light moments, but darkness is never far behind. The plot, however, makes sense, psychedelic as it is. It is like a fantasy realism. I haven't seen it in its entirety since I was a kid, and I wonder if I should just leave it that way...