Ultimately, none of the men enter the Room and they return home, followed by a distant, yet friendly dog. The story of Stalker’s mentor, Porcupine, is recounted as the example: he came seeking to restore his brother’s life and was instead granted incredible wealth. That even if one comes seeking a noble desire, one may return in ignominy. Yet, we come to find through the Writer’s epiphany following the fight that the Room is sentient in some fashion that it is able to reach into the inner heart of a visitor and fulfill desires below consciousness that may even bring great difficulty into ones life. When the trio eventually come to the threshold of the Room, there is a physical struggle as the Stalker finds out that the Professor intends to destroy the Room to prevent its use by evil.
As the film (and the quest) advances, deep psychological exploration of the motivations for these three men is conducted. The “Room” that they seek is hidden somewhere in the Zone, known only to the Stalker, and is rumored to fulfill the deepest desires of those who visit. The premise of the film is the seeking of the “Room” by a prolific writer out of inspiration, a professor seeking new discoveries, and ultimately led to this Room by the“Stalker” (a nickname for those who engaged with and understood the zone). Although directly taken from the novel, Stalker does not provide any exegesis on the origin of the Zone itself and we are left grasping to understand the seemingly paranoiac trepidation that occurs on the quest. As a filmic adaptation of Boris and Arkady Strugatsky’s 1972 novel Roadside Picnic, Tarkovsky’s Stalker (1979) carries the viewer via philosophical drama into what is known as the “Zone”.
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