(Ibid., p. 29). This script was titled Confession and was proposed to the film committee at Goskino. 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. The Mirror was “extremely difficult to edit”, Andrei Tarkovsky confessed (my emphasis). 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. 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 movie is a poetic exploration of childhood: the long dolly shots around the old house in the country and the Moscow apartment explore the spaces of childhood, the geography of memory: the table was there, the chair was here, the window was there, and so on. (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).). 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. Ignat would thus have been introduced differently. Andrey Tarkovsky was born in Zavrozhie on the Volga in 1932. 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”. Tarkovsky was very modest about the aims of his film. The quote reads: “A poet must stir the soul, not nurture idolaters.”. 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. The remarkable footage of the Soviet balloonists, for example, or the moving images of soldiers trudging doggedly through mud and water do not require the viewer to know all the details. 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. Misharin said people reckoned they knew which were the scenes Tarkovsky had written and which were his, but often the opposite was the case. In his films, Solaris, Mirror, Stalker and The Sacrifice, Tarkovsky defined a new way of looking at the world.His non-realistic, highly-charged images are a continuing source of inspiration - not only for a new generation of film-makers, but also for p In Mirror Tarkovsky took this intuitive approach to creativity to an almost paradoxically methodological extreme. Andrei Tarkovsky's Madonna del Parto. 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). "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. After that, the post-production of The Mirror continued without problems. “I believe if one tells the truth, some kind of inner truth, one will always be understood”, Andrei Tarkovsky commented, pace The Mirror. Een film als Méditerranée leert ons dat de tijd zich kan openen door zijn aanwezigheid te ontvouwen. All we communicate to others is an orientation toward what is secret without ever being able to tell the secret objectively. Pocket Guide, published by Crescent Moon Publishing in 2011. 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. 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. Among the thousands of mainstream (Hollywood) movies that try to depict children and childhood, very few come close to the luminous authenticity of The Mirror. Only a few movies – like The Magnificent Ambersons or Akira – have a similarly miraculous first reel. 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. There is a historical, social and personal continuity. (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. 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. As Andrei Tarkovsky wrote in Sculpting in Time, “a great deal was finally thought out, formulated, built up, only in the course of shooting”). Absolutely. He is the narrator of the poem that is the movie. 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. 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. At the same time, viewers will not need to know where and when some of the newsreels were shot. 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). 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. In the meantime, Tarkovsky worked as an actor and screenwriter before completing his next film, an adaptation … These images, seemingly a world away from an intimate portrait of childhood, fuse beautifully with the rest of the film. In fact I am categorically against entertainment in cinema: it is as degrading for the author as it is for the audience.” That’s a typical Tarkovskyan comment (but he’s totally, utterly wrong about entertainment, I think). Book of Andrei Tarkovsky's Mirror, Hironobu Baba (ed. 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 … 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. Structurally, there are two moments in the past that are explored in The Mirror: 1935-36, 1942-43, and the present (c. 1974). Cavafy, those masters of the poetry of nostalgia. 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). “The function of the image, as Gogol said, is to express life itself, not ideas or arguments about life. In 1983 he A famous instance occurs in The Wizard of Oz [1939], although that’s not time travel). It is loosely autobiographical, and combines many elements, from poetry read in voiceover by the director’s father Arseny Tarkovsky, to dream sequences, flashbacks, newsreel and mnemonics (memory devices). It never becomes complacent or banal. Some of the newsreel will be familiar (the nuclear bomb explosions require no gloss). 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. 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. 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. 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. The Mirror is the closest thing in cinema to a poem by Rainer Maria Rilke, Arthur Rimbaud or C.P. By leaving out school and friends, Tarkovsky presents a highly selective view of childhood. 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. The Mirror was not sent to Cannes (Tarkovsky and co-writer Alexander Misharin blamed Filip Yermash, Goskino’s chairman, for this). by Kitty Hunter-Blair, Austin: University of Texas Press, [1986]1987, Second Edition, p. 184). 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. The movie, though, soars above pretension and artifice by the magnitude of its passion. 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). 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 Biró emphasises, signposts in form of intertitles, change of camera angle or a switch … 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. 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. He feels he hasn’t loved them enough, and this idea torments him and will not let him be.”. 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. It is a movie of fierce self-reflexive intensity – something like Rimbaud in his poem of childhood ‘Les poètes de sept ans’. This script was titled Confession and was proposed to the film committee at Goskino. “I wanted to tell the story of the pain suffered by one man because he feels he cannot repay his family for all they have given him [Tarkovsky wrote in Sculpting in Time]. (tr. 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