In a final first act remark to Writer and Professor, Stalker speculates that The Zone 'lets those pass who have lost all hope.' These implications are instantly transferred to his two envoys who immediately take extreme caution when roaming the potentially treacherous wilderness, yet each of them remains utterly reliant on his advice.

That's The Zone.' Each of these notions, however, is united by the idea of a consciousness beyond rational explanation. Now your path is easy now it's hopelessly involved. The moment someone shows up, everything comes into motion. Otherwise it will punish.' Moments later, he nearly negates his own musings by declaring it as a deadly and 'complicated system of traps. At the first part's conclusion, he makes several allusions to possible classification. Throughout the course of its two parts, Stalker attempts to portray The Zone as a kind of humane entity with possession of a vision and will of its own. In many regards, the film emerges as a post-modern dystopian Wizard of Oz update.ДЄnalysis of The Zone is an indefinite, impenetrable and multifarious process as the concept in the film itself. Utilizing both color film stock and sepia tone (captured with a high contrast brown monochrome filter), Stalker highlights the many shades of a unfamiliar environment's adverse or auspicious relationship to the human psyche and the physical act of survival within it. Loosely adapted from the novel Picnic by the Roadside by Boris and Arkady Strugatsky, the film reveals the story of a nameless geological guide or 'Stalker' and his two clients, 'Professor' and 'Writer,' who traverse a conscious shape-shifting wilderness known as 'The Zone.' By excluding official character names, Tarkovsky severs an emotional link with audiences, but in exchange, he personifies landscapes in unconventionally beautiful manners. Due to this elusive emphasis, Stalker unfurls much like his other 150-minute-plus masterwork, Solaris, in a two-part sluggish, poetic and boundless manner. Dick and neo-realism of cinema idols Robert Bresson and Ingmar Bergman, Tarkovsky subversively demonstrates his interest in the inexplicable effects of one's environment instead of well-ascertained threats. Intelligently drawing from the psychological aspects of writers like Philip K. Andrei Tarkovsky's unmistakable gift for crafting mystical imagery from naturalistic properties cannot be better exemplified than in his last film of the 1970s, Stalker.

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