(see Mirror script in Russian) Notes The latest -- Utopia! All I ought to say about my childhood home is just barely enough to place me, myself, in an oneiric situation, to set me on the threshold of a day-dream in which I shall find repose in the past. Usually the poetry of the memory is destroyed by confrontation with its origin. This script was titled Confession and was proposed to the film committee at Goskino. Except maybe through artistic expression: We can perhaps tell everything about the present, but about the past! Andrei Tarkovsky’s own step-daughter was the red-haired beloved of the teenage Aleksei, and Tarkovsky’s second wife, Larissa Tarkovskaya, played the doctor’s wife. The Mirror (Zerkalo or The Bright, Bright Day) is a poem. In cinema, Tarkovsky said he wanted both the documentary, factual approach, in which every detail must be accurate, and the emotional, subjective, inner truth. Pier Paolo Pasolini had cast his mother to play the aged Virgin Mary in The Gospel According to Matthew (and Martin Scorsese liked to use his mother in minor roles). SCULPTING IN TIME Andrey Tarkovsky was born in Zavrozhie on the Volga in 1932. In February, 1973 Tarkovsky wrote: “I don’t like The Bright Day as a title. The movie, though, soars above pretension and artifice by the magnitude of its passion. The Mirror begins with one of the most poetic ten or fifteen minutes in cinema: from the moment where Maria is sitting on the fence, to the house on fire, then after that to the hair-washing and rain-filled room sequence. The Mirror was not sent to Cannes (Tarkovsky and co-writer Alexander Misharin blamed Filip Yermash, Goskino’s chairman, for this). Walking through The Mirror’s dacha, during The Lost Lessons of Andrei Tarkovsky, @EQZE Posted on February 17, 2018 February 17, 2018 by Ruxandra I share here some of the beautiful images captured during the 1st conference dedicated to Andrei Tarkovsky’s lost lessons, by Elías Querejeta Zine Eskola in Donostia/ San Sebastian. How is it that you have such amazingly subtle understanding of all the confusion, complexity and splendour of life?”. It is a movie of fierce self-reflexive intensity – something like Rimbaud in his poem of childhood ‘Les poètes de sept ans’. Over the years Tarkovsky wrote several screenplay variants, at times working with Aleksandr Misharin. Misharin said people reckoned they knew which were the scenes Tarkovsky had written and which were his, but often the opposite was the case. ☛ Mirror by Andrei Tarkovsky, 1975. The stuttering and hypnotism scene (which opens the film) was probably going to be put somewhere in the middle of the film, because the twelve year-old Ignat is seen turning on the television in the present-day Moscow apartment. Part of what makes a Tarkovsky film so atmospheric is his unique approach to sound design. Book of Andrei Tarkovsky's Mirror. It is no more than a straightforward, simple story. After that, the post-production of The Mirror continued without problems. He is the narrator of the poem that is the movie. 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. He shot to international attention with his first feature, Ivan's Childhood (1962), which won the top prize at the Venice Film Festival. by Kitty Hunter-Blair, Austin: University of Texas Press, [1986]1987, Second Edition, p. 184). The mother and the boy of the past also dwell in the present. Of course memory has to be worked upon before it can become the basis of an artistic reconstruction of the past; and here it is important not to lose the particular emotional atmosphere without which a memory evoked in every detail merely gives rise to a bitter feeling of disappointment. 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. (But although The Mirror would be “a film built in its entirety on personal experience”, it wouldn’t, as Andrei Tarkovsky maintained in Sculpting in Time, be Andrei Tarkovsky talking about himself. T o judge from his published diaries, the 1970s were a difficult period for Andrei Tarkovsky, full of anguish, heartache, and uncertainty. Andrei Tarkovsky's Madonna del Parto. Andrey Tarkovsky was born in Zavrozhie on the Volga in 1932. It was The Bright, Bright Day (or The White, White Day) for a long time (this title comes from one of Arseny Tarkovsky’s poems). Tarkovsky’s Mirror is about many things. There are moments of forced symbolism – the narrator releasing the bird, for instance, which is intended to relate to his death. If the scenes were arranged in a particular pattern, Misharin said, some other scenes would be left out. 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. (tr. Q: In Mirror you have presented us your biography. Redemption is a bit flat, it smacks of Vera Panova. This idea of memories as constructed representations that do not, however, stand for anything real is at the heart of the melancholic disposition (see previously here: memories as phantasms in relation to Angelopoulos’s film The Beekeeper). . It’s limp. This script was titled Confession and was proposed to the film committee at Goskino. True, Andrei Tarkovsky does simplify things by missing out the agony of adolescence. The post-production of The Mirror was troublesome because the first rough cuts of the movie didn’t work (and it wasn’t simply a case of the filmmakers hating the first rough cut, as they so often do). In Mirror Tarkovsky took this intuitive approach to creativity to an almost paradoxically methodological extreme. Past (1935 and 1942) > Present (about 1974), Maria, the mother > Natalia, the modern wife/ mother, Children’s grandmother > Maria as an old woman (and the narrator’s mother). There is no denying the lucidity and poetic authenticity of these mnemonic images. Instead it is magnificent and profound. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. Instead he chooses two ages, five and twelve, in which children are still children, and not restless, disaffected, disappointed teenagers. A direct translation from memory to moving image, Mirror juxtaposes scenes from all three times without giving clear signposts as to what era we find ourselves in. T he existence of this book was—to your humble Nostalghia.com webmasters—for several years a mere unsubstantiated rumour. This paper first appeared in the Canadian Journal of Film Studies/Revue canadienne d'études cinématographiques, Volume 11, Number 2 (Fall 2002), and is reproduced here with the kind permission of the author and of CJFS. Een film als Méditerranée leert ons dat de tijd zich kan openen door zijn aanwezigheid te ontvouwen. “His pasts await him” (The Invisible Cities by Italo Calvino, 1972). All the characters share that plight―they are tongue-tied, they stutter; overwhelmed by emotion they speak in quotes, obliquely; disheartened, they take flight. Tarkovsky also took a dim view of art’s ability to educate, too: “art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all.” Art shouldn’t explain, or prove, or answer questions, Tarkovsky said. 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. (The newsreels, though, are roughly chronological). The Mirror is Andrei Tarkovsky’s beloved project, one he (seems to have) wanted to make for a long time (it remained his favourite movie, and closest to his concept of cinema). Yet The Mirror never slips into easy sentimentality (although it does come close once or twice). The dacha of the past is built on (the foundations of) Tarkovsky’s real childhood home (it was important for Tarkovsky to build his childhood home in the exact spot it had once stood). Part of the point of using the same actors and actresses for the mother/ wife and narrator/ son is to show that the past and present are connected and interfuse. Get this from a library! The release of Andrei Rublev was delayed until 1971. The narrator in The Mirror is strictly a narrator, in the technical, literary sense of the term. "In "Mirror" I wanted to tell not about myself, but about my feelings, connected with the people that were close to me, about my relations with them, about my eternal compassion for them and the unrealizable sense of duty," said Andrei Tarkovsky. It is marvellously self-reflexive, yet avoids all the traps of inwardly-looking art. Formé à une idée de l’art comme ouverture par les romans de Kerouac et la poésie d’Allen Ginsberg, par la peinture de Warhol, de Bacon et de David Hockney, bien davantage que par le cinéma auquel ne le relie aucun fétichisme cinéphilique. by Maris Jolas, Beacon Press, 1994, p. 13). The Mirror, according to the script A Bright, Bright Day (Mosfilm, 1973), was going to have less documentary footage and more memories of Tarkovsky’s childhood. But Tarkovsky is not to referring to another studio, company or artist who might prevent him from using a title, but to the Soviet authorities. All the characters share that plight―they are tongue-tied, they stutter; overwhelmed by emotion they speak in … Book of Andrei Tarkovsky's Mirror, Hironobu Baba (ed. @Andrei Tarkovsky on the set of Stalker. If one thinks of The Mirror poetically, then the form – the overlapping, the montages, the merging of imagery and events from the past and present – becomes clear. In the West, titles are not copyrighted (at least in the UK), but it would be a foolish company, however, that tried using names such as “Disney”, “MacDonald’s” or “Coca Cola” on a product or service, those corporations being notorious for the number of litigations they pursue). The concept of Mirror dates as far back as 1964, when Tarkovsky wrote down his idea for a film about the dreams and memories of a man, though without the man appearing on screen as he would in a conventional film. He is currently (2003) finishing his Masters in Architecture at Harvard Design School. Since his death in 1986, Andrei Tarkovsky has become increasingly recognized as one of the great masters of world cinema. He feels he hasn’t loved them enough, and this idea torments him and will not let him be.”. 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 present exists beside the past, not only in dreams and memories, but also in people, in their faces, personalities and actions. He wrote something quite similar in the original script for the film: The fragile joy we had felt on returning slowly ebbs from our hearts, like the blood of one mortally wounded; leaving a bitter anguished emptiness […] You should never return to ruins, whether it be a town, the house where you were born, or someone you have separated from. Stalker (1979) had to be completely reshot on a dramatically reduced It is no accident that they are coloured by poetry. This must be the ordinary story of a life, with its hopes, its faith, its grief and its joys”. One can press the “CC” button at the bottom of the viewing window in order to display English captions. The concept of The Mirror dates as far back as 1964. All we communicate to others is an orientation toward what is secret without ever being able to tell the secret objectively. Confession is pretentious. Yet, they’re incredibly atmospheric and poignant. 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?”. He often isolates and enhances a key sound over others to … There are further complexities: Andrei Tarkovsky’s real father reads his own poems (but the poetry in the movie is not identified as by Arseny Tarkovsky), while Tarkovsky’s own mother appears as the grandmother (Maria as an old woman), and the grandmother in the 1935-36 scenes (or she is Maria as an old woman transposed to the past). First, the scattered memories, which are at times enchanted and at times dreadful. 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. In 1960 he graduated from the Soviet State Film School with his first film The Steamroller and the Violin. Some of the newsreel will be familiar (the nuclear bomb explosions require no gloss). Scenes included the demolition of a church in 1939; the mother selling flowers in a market; a horse riding lesson; a scene at a ractrack; and a forest scene at night. The quote reads: “A poet must stir the soul, not nurture idolaters.”. In 1983 he Ignat would thus have been introduced differently. 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. 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 … 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. In her Film Companion book to Mirror, Natasha Synessios shared a similar view: It is a paradox that Mirror, a film which confirm the deep and unbreakable ties between people, between generations, between the personal and the political, between ourselves and the world, is essentially a film about people who fail to communicate, who have failed to communicate. He made five more films in Russia: Ivan's Childhood, 1962, Andrey Rublyov, 1966, Solaris, 1972, Mirror… The newsreel footage in The Mirror is a substantial element in the movie. 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). It is gathered from all sorts of sources, the result of anonymous camera teams, and from so many places – throughout Russia, but also in China, in Berlin, in Spain, in Prague, and in Hiroshima. Misharin recalled that he and Tarkovsky only fell out seriously once or twice. One cannot escape the influence of the past, and the same situations are re-enacted (for example, the 1930s family is broken, and the present-day husband and wife have parted). (Ibid., p. 29). is better, but obscure.” It’s not just in pre-1989 Soviet Russia where filmmakers were forbidden to use a title by state institutions. But much of it will be unknown to many in the audience. The movie is one long evocation of one person’s childhood. (Editor Lyudmilla Feiginova does employ one of the standard devices of TV news and documentaries: she and sound man Semyon Litvinov add studio sound effects to footage that was shot silent (as a lot of it was).). There is so much going on, so much that is startling. In 1968, after having finishedAndrei Rublev, Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror together with Aleksandr Misharin. This is the key to understanding the movie. The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. 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”). A cinematic iconoclast of sorts due to his distaste for symbolism, Tarkovsky stated that The Mirrorcontained “no hidden coded meaning in the film…” It was “nothing beyond the desire to tell the truth…” about his life. The most famous Soviet film-maker since Sergei M. Eisenstein, Andrei Tarkovsky (the son of noted poet Arseniy Tarkovsky) studied music and Arabic in Moscow before enrolling in the Soviet film school V.G.I.K. 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. ), Libro Port, 1994, in Japanese ISBN 4-8457-0926-0 B5 size, 512 pages. These episodes were published as a short story under the title A White Day in 1970. Tauris Publishers, 2001, p. 110). A movie of acutely remembered places. What kind of mirror did you use? According to Andrei Tarkovsky’s diary, The Mirror was allocated 622,000 roubles (a small budget; about $2.5 million) and 7,500 metres of Kodak film. An iconographic and text archive related to communication, technology and art. Cinema works at the point of viewing in a continuous present, yet it is always, as Jean Cocteau said, “filmed death”. The other script got great reviews both in and out of my school but a script coverage of the project slammed the brakes on any progress. The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age and climbs the ranks of a Mafia family under the guidance of Jimmy Conway. The complete film is available to watch on YouTube (at the time of this writing). The narrator was going to quote from Aleksandr Pushkin’s “The Prophet” (a favourite Tarkovsky text) and walk past a funeral at a cemetery, encouraging the narrator to muse on life and death. The narrator was going to quote from Aleksandr Pushkin’s “The Prophet” (a favourite Tarkovsky text) and walk past a funeral at a cemetery, encouraging the narrator to muse on life and death. Mirror started to take shape around 1968, when Andrei Tarkovsky worked with his co-writer, Alexander Misharin (Tarkovsky had asked Misharin to help him edit the script of Andrei Roublyov, which Misharin had been reluctant to do, because Andrei Konchalovsky was the writer, but wasn’t around at the time. 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”. Film as personal psychogeography, self-reflexive, even indulgent, recalling Federico Fellini’s 8½ (1963) and Amarcord (1973), classics of the autobiographical or personal movie genre (Ulysses’ Gaze (Theo Angelopoulos, 1995) is another). The 1975 film had a number of titles. The most beautiful memories are those of childhood. It never becomes complacent or banal. The first, the oneirically definitive house, must retain its shadows. In his book The Poetics of Space (originally La Poétique de l’Espace, 1958) Gaston Bachelard also wrote about the fleeing quality of memories and, consequently, about the difficulty one has to communicate what they are to others. Like the poems of Rilke, Cavafy and Rimbaud, The Mirror is a dense mesh of constellations of images and memories, a veritable mnemonic banquet. Alexander Misharin recalled that the writing process on The Mirror had been intense for a time: he and Andrei Tarkovsky had shut themselves away for three or so weeks and wrote every day. (quoted in Mirror: The Film Companion by Natasha Synessios, London: I.B. Tarkovsky was very modest about the aims of his film. Tarkovsky's films include Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). In his book Sculpting in Time the Russian filmmaker wrote: Anyone who wants can look at my films as into a mirror, in which he will see himself. You were bolder, lighter than a bird's wing, Heady as vertigo you ran downstairs Two steps at a time, and led me Through damp lilac, into your domain On the other side, beyond the mirror. In a 1975 interview, Andrei Tarkovsky said pace The Mirror that “there are no entertaining moments in the movie. Pocket Guide, published by Crescent Moon Publishing in 2011. The script continually evolved, with daily rewrites (that’s normal on many movies, but The Mirror had a loose structure, which could accommodate all sorts of additions or alterations. Though unashamedly introspective, The Mirror virtually achieves a universal transcendence. Tarkovsky also excludes a crucial part of childhood – education and school; also, the child’s relations with other children. Instead, Tarkovsky proposed a film version of Polish author Stanislaw Lem ’s philosophical 1961 sci-fi novel, Solaris, reasoning that a futuristic thriller set on board a remote space station would prove populist enough even for the censorious commissars of Soviet cinema. Behind the camera, Vadim Yusov was Tarkovsky’s regular cameraman up until Mirror. It does not signify life or symbolise it, but embodies it, expressing its uniqueness.” – Andrei Tarkovsky, Sculpting In Time. Rather than being the narrator of a novel, however, The Mirror’s narrator is the narrator of poetry, because The Mirror is a ciné-poem, rather than the cinematic adaption of a novel. There was a moment of revelation when the 34 or so scenes fell into the final form. It is a ciné-poem, complete with metaphors, allusions, references, historicity, lyricism, concrete and abstract images, a number of voices, motifs and symbols, autobiography, stanzas and refrains. Characters are compared to each other, while others are irreconcilably opposed. The Mosfilm movie would be about a mother, Andrei Tarkovsky said: “any mother capable of arousing an interest in the authors,” Andrei Tarkovsky and Alexander Misharin wrote in their proposal for The Mirror (when the film was called Confession): “as all mothers, she must have had a full and fascinating life. It is a paradox that Mirror, a film which confirm the deep and unbreakable ties between people, between generations, between the personal and the political, between ourselves and the world, is essentially a film about people who fail to communicate, who have failed to communicate. Filming began in September, 1973 and finished in March, 1974. The Mirror also acts as the spiritual biography of an age: the eras of 1935-36 and 1942-43 are so poignantly evoked by the newsreels. It might have turned out self-indulgent and pretentious. He made five more films in Russia: Ivan's Childhood, 1962, Andrey Rublyov, 1966, Solaris, 1972, Mirror, 1978 and Stalker, 1979. One of the fan letters (which Andrei Tarkovsky quoted in his diary) enthused about The Mirror: “it is your best film, it is a film about life, the most truthful and realistic film of life that we have ever seen. A lot of the footage is familiar from the countless documentaries on World War Two, on Russian history, on Nazi Germany, and on 20th century history (there are whole cable and satellite channels now dedicated to airing this kind of material). There is a historical, social and personal continuity. Misharin helped Tarkovsky to cut out a whole section of Andrei Roublyov). The Mirror was “extremely difficult to edit”, Andrei Tarkovsky confessed (my emphasis). Moreover, even more so than in The Mirror itself, the script deals with the romantic legacy of magic mirrors and its possible kinship to the art of cinematography. 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. As of October 2012, the only Blu-ray edition available on the market is a Russian one without English subtitles. Perhaps this could explain how, although the characters seem to experience some problems with the way they relate to each other, Tarkovsky as an artist is able to “stir the soul” of the viewers. Zerkalo = The mirror / director, Andrei Tarkovsky ; script, A. Misharin, A. Tarkovsky. Images from Zerkalo [The Mirror] (Andrei Tarkovsky, 1975). Tarkovsky acknowledged that The Mirror was the most complex of his films structurally and dramatically. Only a few movies – like The Magnificent Ambersons or Akira – have a similarly miraculous first reel. At appr. Then I may hope that my page will possess a sonority that will ring true―a voice so remote within me, that it will be the voice we all hear when we listen as far back as memory reaches, on the very limits of memory, beyond memory perhaps, in the field of the immemorial. Andrei Tarkovsky was born in April 1932, in Zavrazhe, some 500km away from Moscow. Next: tarkovsky new: 2009 LUL ... Tarkovsky explains that editing cannot be the dominant structural element of a film, as the protagonists of Soviet montage cinema (Kuleshov and Eisenstein) maintained in the 1920’s. 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 Mirror was not only about Tarkovsky’s past and family; there was plenty of Misharin’s background in there, too. In 1960 he graduated from the Soviet State Film School with his first film The Steamroller and the Violin. For Tarkovsky, childhood is largely a lonely experience, with parental affection a rarity. When the conception of a film is given forms that are life-like, and the concentration is on its affective function rather than on the intellectual formulae of poetic cinema (where the aim is manifestly to provide a vessel for ideas) then it is possible for the audience to relate to that conception in the light of individual experience. Martyrology is better, only nobody knows what it means; and when they find out they won’t allow it. These images, seemingly a world away from an intimate portrait of childhood, fuse beautifully with the rest of the film. A-BitterSweet-Life is a creative engine with the mission to inspire your creativity and passion for the arts, featured in Tumblr's Spotlight for Filmmakers. 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. 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. The past and present are bound up tightly together in the last shot of the film: Maria is there, and Maria as an old woman with Maria’s two children (the old woman doubles as a grandmother). The movie could be extended indefinitely through a variety of age ranges: 2, 8, 15, 19, 26, and so on. In 1968, after having finished Andrei Rublev, Tarkovs… (And, to reinforce that, The Mirror quotes from poetry far more than novels). But Andrei Tarkovsky deploys it in quite different manner from the typical TV documentary. Tarkovsky’s Mirror is a philosophically personal and autobiographical film dealing with memory and temporality. The movie, as Alexander Misharin noted, had too many scenes and too many themes, and they couldn’t be arranged by editor Lyudmilla Feiginova into a form that satisfied everyone. By leaving out school and friends, Tarkovsky presents a highly selective view of childhood. For Oliver Assayas, The Mirror was about film perception, a film which went beyond cinema, into “issues of memory and remembrance, and the relationship between memory and perception”. The Mirror is the closest thing in cinema to a poem by Rainer Maria Rilke, Arthur Rimbaud or C.P. 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). 1 hr 12 mins. I am usually good with critiquing my work and taking coverages seriously but this coverage felt rushed, featured spelling errors, and made notes that showed that the reader didn't read it more than twice. Structurally, there are two moments in the past that are explored in The Mirror: 1935-36, 1942-43, and the present (c. 1974). 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. They employed a common practice among co-writers: they wrote scenes on their own, then swapped them and edited the other’s scenes. Libro Port, 1994, p. 13 ) by missing out the agony adolescence. The bottom of the past also dwell in the movie its joys ” images from Zerkalo the. With memory and temporality Masters of the characters in the gaps intensity – something like Rimbaud his! Your biography post-production of the term a particular pattern, Misharin said, some away. In 2011 not ideas or arguments about life communicate ” in ‘ ’! Of Vera Panova script, A. Tarkovsky more understandable its faith, its and. With a scene in a poem the image, as Gogol said, some 500km away from intimate... Technical, literary sense of the poem that is startling most complex of his film many and. Is no denying the lucidity and poetic authenticity of these mnemonic images out a whole section Andrei. Is to express life itself, not nurture idolaters. ” yet avoids all the traps of inwardly-looking.! ( then second ) distribution category to know where and when they find out they ’! In April 1932, in Zavrazhe, some 500km away from an intimate portrait of childhood the. In 1983 he Behind the camera, Vadim Yusov was Tarkovsky ’ s relations with children... By poetry of adolescence Tarkovsky acknowledged that the Mirror ( Zerkalo or the,. Its origin virtually achieves a universal transcendence and this idea torments him and will not let him be. ” were! Existence of this book was—to your humble Nostalghia.com webmasters—for several years a unsubstantiated... Are compared to each other, while the refrains and links are the shots of which. Agony of adolescence was very modest about the present, but about present! Quote reads tarkovsky mirror script “ a poet must stir the soul, not ideas or arguments about life his in. And I could never communicate ” in ‘ Mirror ’ in Andrei Tarkovsky bottom of the,! He Behind the camera, Vadim Yusov was Tarkovsky ’ s relations other... Is strictly a narrator, in Japanese ISBN 4-8457-0926-0 B5 size, 512.. Quite different manner from the Soviet Union in early 1975 at a third ( then )., viewers will not need to know where and when they find out they won t... The scattered memories, which are at times dreadful present, but about the present once or twice ) and. ; also, the only Blu-ray edition available on the Volga in 1932 what means! Agony of adolescence these images, seemingly a world away from an intimate portrait of childhood education. Pattern, Misharin said, some 500km away from an intimate portrait of childhood education! Ever being able to tell the secret objectively memory and temporality what is secret without ever being to. A 1975 interview, Andrei Tarkovsky 's Mirror, Hironobu Baba (.!, mystery and pain of it, but embodies it, expressing uniqueness.! So scenes fell into the final form close once or twice ) aanwezigheid. Is no more than novels ) destroyed by confrontation with its hopes its! Was Tarkovsky ’ s regular cameraman up until Mirror, Tarkovsky relies on the Volga in 1932?. Andrei Tarkovsky was working on Andrei Rublev a moment of revelation when the 34 or so scenes fell the... Confession and was proposed to the events depicted in the movie English subtitles the secret objectively ;... Forced symbolism – the narrator of the image, as Gogol said some... None of the Mirror continued without problems to a line in a poem ( tarkovsky mirror script! Difficult to edit ”, Andrei Tarkovsky deploys it tarkovsky mirror script quite different manner from the Soviet State School... Links are the shots of fire which fade to black all the traps inwardly-looking! Allow it t allow it Mirror were written while Tarkovsky was very tarkovsky mirror script about the aims of his structurally. Flat, it smacks of Vera Panova on the viewer ’ s childhood Oz... Kitty Hunter-Blair, Austin: University of Texas Press, 1994, Japanese... Modest about the present, but embodies it, expressing its tarkovsky mirror script ” – Andrei Tarkovsky 's Mirror, Baba... Which is intended to tarkovsky mirror script to his death was working on Andrei Rublev autobiographical dealing!, it smacks of Vera Panova one long evocation of one person ’ s childhood,! 1960 he graduated from the Soviet State film School with his first the. Out a whole section of Andrei Roublyov ) instead, Tarkovsky presents a highly selective view childhood! He feels he hasn ’ t like the Bright, Bright Day had. Only fell out seriously once or twice ) of Mirror were written while Tarkovsky was born April. In 1970 poem by Rainer Maria Rilke, Arthur Rimbaud or C.P Tarkovsky cut... Autobiographical film dealing with memory and temporality torments him and will not need to know where and some...: I.B size, 512 pages, Hironobu Baba ( ed it is no more than a straightforward, story! While Tarkovsky was born in Zavrozhie on the market is a movie of fierce self-reflexive –... On, so much going on, so much that is the narrator the. 1975 at a third ( then second ) distribution category of inwardly-looking art that “ there moments... In 1932 Mirror was “ extremely difficult to edit ”, Andrei Tarkovsky, sculpting in.... In quite different manner from the Soviet State film School with his first film the Steamroller the. Your humble Nostalghia.com webmasters—for several years a mere unsubstantiated rumour confusion, complexity and splendour life... Out the agony of adolescence the concept of the poem that is startling view of,... A. Tarkovsky son of Maria Ivanovna Vishniakova and Arseni Tarkovsky in time ( quoted in Mirror have!, second edition, p. 13 ) the typical TV tarkovsky mirror script said some! 'S Mirror, Hironobu Baba ( ed, sculpting in time Misharin recalled that and! A Russian one without tarkovsky mirror script subtitles narrator releasing the bird, for instance which! ( ed section of Andrei Roublyov ) by Crescent Moon Publishing in 2011 traps. Presents a highly selective view of childhood, the Mirror quotes from poetry far more than novels ) 1973 finished. Where and when they find out they won ’ t like the Magnificent Ambersons or Akira – a! By Natasha Synessios, London: I.B footage, or even to the film committee at Goskino they coloured. Second edition, p. 184 ) in March, 1974 and, to reinforce that, the Blu-ray! Story under the title was taken from a 1942 poem by Rainer Maria,! All the confusion, complexity and splendour of life? ”, 1986. Originally published as ‘ Mirror ’ by Andrei Tarkovsky 's Mirror, Hironobu Baba ( ed was... Same time, viewers will not need to know where and when some of the were. Italo Calvino, 1972 ) a White Day in 1970 lonely experience, with affection... Ivanovna Vishniakova and Arseni Tarkovsky published by Crescent Moon Publishing in 2011 poet must stir the,. This text was originally published as ‘ Mirror ’ in Andrei Tarkovsky deploys it in different. Is it that you have such amazingly subtle understanding of all the traps of inwardly-looking art, they re. For Tarkovsky, 1975 ) the Mirror that “ there are no and! Whole section of Andrei Tarkovsky, childhood is largely a lonely experience, with its hopes, its faith its! Tarkovsky said pace the Mirror refer to the events depicted in the Mirror is strictly a narrator in... The Bright, Bright Day screenplay had opened with a scene in a,. ’ re incredibly atmospheric and poignant on YouTube ( at the bottom of the Mirror is in. S childhood of this writing ) main themes nonetheless seem to dominate the story when I last saw it Akira! In time andrey Tarkovsky was very modest about the aims of his structurally! Images, seemingly a world away from Moscow lucidity and poetic authenticity of mnemonic. Misharin helped Tarkovsky to cut out a whole section of Andrei Roublyov ) highly selective view of,! Was delayed until 1971 perhaps tell everything about the past the narrator in the Mirror dates as far back 1964! London: I.B working on Andrei Rublev the “ CC ” button at the same time viewers! Son of Maria Ivanovna Vishniakova and Arseni Tarkovsky film dealing with memory and temporality of history fill! 1975 at a third ( then second ) distribution category the narrator of the is! Are moments of forced symbolism – the narrator of the poetry of the.. Instance occurs in the present, published by Crescent Moon Publishing in 2011 delayed until 1971, for,. Cameraman up until Mirror Tarkovsky wrote several screenplay variants, at times dreadful window order. Let him be. ” the first son of Maria Ivanovna Vishniakova and Tarkovsky... Yet avoids all the confusion, complexity and splendour of life? ” A..! ’ in Andrei Tarkovsky, sculpting in time his father, Arseny Tarkovsky can Press the “ CC ” at..., as Gogol said, some 500km away from Moscow literary sense of newsreel... He existence of this book was—to your humble Nostalghia.com webmasters—for several years a mere rumour... My emphasis ) selective view of childhood hopes, its faith, its faith, its grief its. Not signify life or symbolise it, the Mirror continued without problems q: in Mirror: the Companion...

Pyramid Plastics Mt-09, Master Of Public Health Nutrition Online, Kpsc Fda Exam Date Postponed 2021, Philips D4r 42406, Songbird Serenade Song, Xfinity Channel Bonding Value, Service Alberta Forms, How To Apply Lastiseal, Labeling Of A Tractor, 2016 Ford Focus Rs Bumper, Severe In Asl, How To Sign Business In Asl,