Is this a mirror-like Stendhal’s, a mirror which travels down the road, or is it a mirror in which you have found yourself, learnt something about yourself that … There is so much going on, so much that is startling. As Misharin told it, Tarkovsky’s wife Larissa had sewn a kind of sack with pockets in it, which they hung on the wall and placed the scenes in each pocket. Though unashamedly introspective, The Mirror virtually achieves a universal transcendence. The concept, according to Misharin and Tarkovsky, was to trace the “spiritual organization of our society” through “the rightful fate of one person; a person whom we know and love, who is called Mother”. In 1983 he The movie principally takes place in these three time zones (discounting the newsreels), and in, primarily, two locations: a modern day apartment in Moscow, where the narrator lives (but is not seen); and the dacha (house) in the country, where the narrator lived as a boy with his mother, while his father was away at war or in the services. This is the key to understanding the movie. (tr. It was, rather, ultimately a movie about feelings: about his feelings towards his loved ones and relatives, and about his own inadequacy – “my feeling of duty left unfulfilled”). It comes as no surprise that Andrei Tarkovsky, master of Soviet cinema, turned to composer Eduard Artemiev to score his two lyrical and haunting films, The Mirror (1975) and Stalker (1979), as he had done for Solaris (also available on Superior Viaduct). Second, the painful gap that exists between a man and a woman: each time they make an effort to cross it, it seems to grow wider and wider. Why Are You Standing So Far Away? Instead it is magnificent and profound. In 1960 he graduated from the Soviet State Film School with his first film The Steamroller and the Violin. Tarkovsky was very modest about the aims of his film. The Bright, Bright Day screenplay had opened with a scene in a cemetery, and a funeral. The screenshots featured here all come from this YouTube copy: that’s because it features the exact same subtitles as in the 35 mm copy I saw. It might have turned out self-indulgent and pretentious. For it belongs to the literature of depth, that is, to poetry, and not to the fluent type of literature that, in order to analyze intimacy, needs other people’s stories. So, although he is heard off-screen, interacts with characters (chiefly with Natalia), and is glimpsed briefly on his death bed, he is still not really meant to be a flesh-and-blood character like Maria, Ignat or Natalia. The complete film is available to watch on YouTube (at the time of this writing). With ‘Mirror’ Tarkovsky relentlessly strips off the narrative spine of filmmaking - storyline, characters, scenes, dialogues, poems, hypothesis, newsreels are instead interlaced into several different time zones so as to create an organic unity of idea and form. Redemption is a bit flat, it smacks of Vera Panova. He made five more films in Russia: Ivan's Childhood, 1962, Andrey Rublyov, 1966, Solaris, 1972, Mirror… An iconographic and text archive related to communication, technology and art. There’s an enormous difference, after all, between the way you remember the house in which you were born and which you haven’t seen for years, and the actual sight of the house after a prolonged absence. How is it that you have such amazingly subtle understanding of all the confusion, complexity and splendour of life?”. Images from Zerkalo [The Mirror] (Andrei Tarkovsky, 1975). (quoted in Mirror: The Film Companion by Natasha Synessios, London: I.B. “You and I could never communicate” in ‘Mirror’ by Andrei Tarkovsky, 1975, at 33mins. Het is Jean-Daniel Pollets grote doorbraak en het maakt deze film tot een meesterwerk waarnaar we eindeloos kunnen blijven kijken zonder dat de film veroudert of aan kracht inboet, zonder dat de woorden – dwingend, somber, inwijdend, doordrenkt van de immense gloed van de zon – ons ooit de indruk geven dat we ze al gehoord hebben. The quote reads: “A poet must stir the soul, not nurture idolaters.”. It’s limp. These images, seemingly a world away from an intimate portrait of childhood, fuse beautifully with the rest of the film. The concept of The Mirror dates as far back as 1964. There is a historical, social and personal continuity. Only a few movies – like The Magnificent Ambersons or Akira – have a similarly miraculous first reel. Andrei Tarkovsky had originally planned filming interviews with his mother with a concealed camera, using questions such as “when did you begin smoking?”, “do you like animals?”, “are you superstitious?”, “are men or women stronger, do you think?”, “do you ever have friends outside your circle?”, “do you always speak the truth?”, “what would make you especially happy now?”, “have you ever envied youth?”, “which are your favourite poems?”, “are you capable of hatred?”, “which part of your life would you say was happy?”, “what do you think about space travel?”, “do you like Bach?”, “what do you remember about the war with Spain?”, “what was the funniest thing that ever happened to you?”, “are you a good swimmer?”, “do you remember the day when you sensed you would become a mother for the first time?”, “which is your favourite season?”, “have you ever starved?”, “what do you think about war?”, “what is freedom?”, “how many years did you work at the printers?”, and “are you scared of the dark?”. Yet, through sheer will, talent, faith and the miraculous transformation of art, the film achieve what Tarkovsky always strove for: “In one form or another all my films have made the point that people are not alone and abandonned in an empty universe, but are linked by countless threads with the past and the future; that as each person lives his life he forges a bond with the whole world, indeed with the whole history of mankind.” (Mirror. (The newsreels, though, are roughly chronological). Their mutually-developed script initially was not approved by the film committee of Goskino, and it was only after several years of waiting that Tarkovsky would be allowed to realize The Mirror. T o judge from his published diaries, the 1970s were a difficult period for Andrei Tarkovsky, full of anguish, heartache, and uncertainty. Tarkovsky was given a budget of 622,000 Soviet ruble and 7500 meters of Kodak film, corresponding to roughly three takes assuming a film length of 3000 meters. In it there can be seen a mud island with a snail on it, a syringe, a plate, a mirror, an aquarium with fishes, a sterylizer, an extractor, a religious icon, coins, some gauze, a gun, metal part, an industrial spring, a page from a calendar (28th), some metal parts, some wire, Stalker’s hand in the water (sepia). He directed the first five of his seven feature films in the Soviet Union; his last two films, Nostalghia (1983) and The Sacrifice (1986), were produced in Italy and Sweden, respectively. He often isolates and enhances a key sound over others to … Absolutely. Some viewers and critics were confused by the use of the same actors for different roles in The Mirror (even though this is a not uncommon strategy: it’s used in the Back To the Future series [1985-90], for instance, and other time travel movies. 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