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Tarkovsky creates a beautiful screen image when the kiss occurs, pulling the camera down into the ravine to give the viewer a glimpse from below. This creates two sharp angles – the V-shape of the ravine and the A-shape of Kholin’s straddled legs. This contrast between the two angles makes Kholin appear in opposition to the nature that surrounds him while Masha’s vertical position matches the birch trees that are behind them both. The camera lingers on the pair for an uncomfortably long time while Masha’s legs dangle subtly like a body that has just been hung from the gallows. A lengthy kiss is usually used to portray passionate romance between two people, but Tarkovsky uses the Kholin-Masha kiss for the complete opposite effect. Not only does the director show Masha’s disinterest in the love of an older officer, but he uses the moment to articulate the unsightliness of war. Despite the fact that no combat is actively occurring, both individuals are still wearing their uniforms and distant gunshots are constantly audible in the background. Even Masha, a symbol for youth or femininity, is susceptible to the controlling power of war. Tarkovsky replicates this moment throughout his filmography, often shooting characters from below in powerful moments. The kiss in Ivan’s Childhood, however, is undoubtedly one of his most masterful.
