How is it that you have such amazingly subtle understanding of all the confusion, complexity and splendour of life?”. He was predeceased by his son, film director Andrei Tarkovsky. (And, to reinforce that, The Mirror quotes from poetry far more than novels). “I believe if one tells the truth, some kind of inner truth, one will always be understood”, Andrei Tarkovsky commented, pace The Mirror. The final scene plays in the prewar time-frame, showing a pregnant mother, Maria, intercut with scenes showing Maria young and old. He was born in Elisavetgrad, Ukraine. 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. The Mirror was not only about Tarkovsky’s past and family; there was plenty of Misharin’s background in there, too. Cinema works at the point of viewing in a continuous present, yet it is always, as Jean Cocteau said, “filmed death”. 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. After the opening titles roll, a scene is set in the countryside during prewar times in which Alexei's mother Maria (Margarita Terekhova) — also called Masha and Marusya — talks with a doctor (Anatoly Solonitsyn) who chances to be passing by. Mirror is structured in the form of a nonlinear narrative, with its main concept dating back to 1964 and undergoing multiple scripted versions by Tarkovsky and Aleksandr Misharin. The spectator has to make an effort to unravel the components of the piece, has to fill in gaps and re-order the events, but it makes sense in the end. [12] Mirror thus forms the third part, together with Tarkovsky's previous film Solaris which was made in 1972 and which references Andrei Rublev by having an icon made by him being placed in the main character's room,[13] in a series of three films by Tarkovsky referencing Andrei Rublev. Includes many poems used in Arseny's son's films (Andrei Tarkovsky). 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”. As Tarkovsky put it himself, he started writing poetry “from the potty”. Innokenty Smoktunovsky provides voiceover and Eduard Artemyev the incidental music and sound effects. Arseny Alexandrovich Tarkovsky (Russian: Арсений Александрович Тарковский, June 25 [O.S. The adult Alexei is only briefly glimpsed, but is present as a voice-over in some scenes including substantial dialogue. FROM THE INTRODUCTION: Arseny Aleksandrovich Tarkovsky was was born in June 1907 in Elizavetgrad, later named Kirovograd. arseny tarkovsky poems in the mirror; Arseny Alexandrovich Tarkovsky (Russian: Арсений Александрович Тарковский, June 25 [O.S. The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence. / It’s warm still where the sun falls. At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Alexei. Vandaag, heel wat jaren later, heeft een Amerikaanse cineast, Gus Van Sant, weten te begrijpen dat een beheerst en systematisch soepel gebruik van de Steadicam de basis zou kunnen vormen voor een volkomen nieuwe analytiek van alledaags geweld. Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria. 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 is so much going on, so much that is startling. True, Andrei Tarkovsky does simplify things by missing out the agony of adolescence. Arseny Tarkovsky (1907-1989) is one of the great twentieth century. [9], With the script being turned down by the film committee, Tarkovsky went on to make the film Solaris. Initially, Tarkovsky considered Alla Demidova and Swedish actress Bibi Andersson for the role of the mother. (Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova.). Back in postwar time, Alexei quarrels with his ex-wife, Natalia (also played by Margarita Terekhova), who has divorced him and is living with their son Ignat. If the scenes were arranged in a particular pattern, Misharin said, some other scenes would be left out. In the end Margarita Terekhova was chosen. More Poetry from Arseny Tarkovsky: Arseny Tarkovsky Poems based on Topics: Birds, World, Fate & Destiny, Curiosity, Time, Speech, Leading & Managing, Kings & Queens. Een gemeenschappelijke taal, maar tot een niveau van puurheid gebracht die onze westerse cinema slechts bij wijze van uitzondering heeft gekend. The Mirror was “extremely difficult to edit”, Andrei Tarkovsky confessed (my emphasis). Arseny Tarkovsky. That Arseny was the primary influence on Andrei is irrefutable, attested to by the fact that Andrei chose to quote seven of his poems in his films, across Mirror, Stalker and Nostalgia. It was released in the Soviet Union in early 1975 at a third (then second) distribution category. The reunion of Alexei and his sister with their father (Oleg Yankovsky) at war's end is shown. The mother and the boy of the past also dwell in the present. Mirror is the celebrated Russian director Andrei Tarkovsky’s most autobiographical work in which he reflects upon his own childhood and the destiny of the Russian people. This script was titled Confession and was proposed to the film committee at Goskino. Confession is pretentious. Tarkovsky has described the dramaturgy of Mirror as following “the associative laws of music and poetry” (6), laws that are – at the same time – transformed through their contact with the medium of film. With a bibliography of both Arseny and Andrei Tarkovsky, and illustrations from Tarkovsky’s movies. His poems appeared in the films The Mirror and Stalker, directed by Andrei Tarkovsky, his son. For Tarkovsky, childhood is largely a lonely experience, with parental affection a rarity. In a dream sequence Maria is washing her hair. 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. Vandenhoeck & Ruprecht, Göttingen 2007, S. 85–110. Russian poets and prominent translator. The film's loose flow of visually oneiric images has been compared with the stream of consciousness technique in modernist literature. Several of the characters are played by the same actors. Mirror initially polarized critics and audiences, with many considering its narrative to be incomprehensible. It is marvellously self-reflexive, yet avoids all the traps of inwardly-looking art. In a 1975 interview, Andrei Tarkovsky said pace The Mirror that “there are no entertaining moments in the movie. Arseny Aleksandrovich Tarkovsky was born on June 25, 1907 in Elisavetgrad into the family of a Narodnik (a revolutionary-minded person). 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). [5][6] It has also found favor with many Russians for whom it remains their most beloved of Tarkovsky's works.[7]. This resulted in a very limited distribution. 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. Andrej Tarkowskij und sein Film "Der Spiegel" ("Serkalo"). He feels he hasn’t loved them enough, and this idea torments him and will not let him be.”. But his diary entries show that he was still eager to make the film. Why Are You Standing So Far Away? The 1975 film had a number of titles. 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). / But it’s not enough. Matriarchy and female solidarity is affirmed, as is generation-to-generation continuity, ambiguity and sadness.“I should like to ask you all not to be so demanding, and not to think of The Mirror as a difficult film”, Andrei Tarkovsky asserted in 1975. The movie, though, soars above pretension and artifice by the magnitude of its passion. Only a few movies – like The Magnificent Ambersons or Akira – have a similarly miraculous first reel. Mirror, an Album by The Revolutionary Army of the Infant Jesus. 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. With a bibliography of both Arseny and his son Andrei Tarkovsky, and illustrations from Tarkovsky's movies. The newsreel footage in The Mirror is a substantial element in the movie. Die unbewusste Botshaft des Films. / Under the sun it's warmer, / Only it's not sufficient. By leaving out school and friends, Tarkovsky presents a highly selective view of childhood. [28][29], While highly acclaimed, Mirror continues to be viewed as enigmatic. She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza (Alla Demidova), who then abruptly reduces her to tears with withering criticism. Mirror was ultimately approved by Goskino without any changes in fall 1974.[18]. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. Tarkovsky wanted to use a hidden camera to interview her on the pretext that it was research for the film. One scene that was in the script but that was removed during shooting was an interview with his mother. Instead he chooses two ages, five and twelve, in which children are still children, and not restless, disaffected, disappointed teenagers. When Mosfilm critics were asked in November 1974 to evaluate Mirror, responses were divided. But Andrei Tarkovsky deploys it in quite different manner from the typical TV documentary. Characters are compared to each other, while others are irreconcilably opposed. Finally, in Philip Metres and Dimitri Psurtsev’s I Burned at the Feast: Selected Poems of Arseny Tarkovsky we get a fair idea of what Tarkovsky’s work might sound like in Russian. The movie could be extended indefinitely through a variety of age ranges: 2, 8, 15, 19, 26, and so on. The work has grown in reputation since its release, and ranked nineteenth in Sight & Sound's 2012 critics' poll of the best films ever made, and ninth in the directors' poll. The Bright, Bright Day screenplay had opened with a scene in a cemetery, and a funeral. Poems (Emscotet Lawn, Warwick, England: Grnville Press, 1992); Virginia Rounding (trans.) 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). Misharin helped Tarkovsky to cut out a whole section of Andrei Roublyov). Although his work did gain some fame in the West through his son’s films Mirror (1974) and Stalker (1979), which included quotations from a few of his poems, … The film then moves to the postwar time, showing Alexei apparently on his death-bed with a mysterious malady. Life, Life (Arseny Tarkovsky Poems) Steppe (Arseny Tarkovsky Poems) Ignatyevo Forest (Arseny Tarkovsky Poems) And this I dreamt, and this I dream (Arseny Tarkovsky Poems) [31] Howard Hampton argued that the work's central subject is "the inescapable persistence of the past. Misharin said people reckoned they knew which were the scenes Tarkovsky had written and which were his, but often the opposite was the case. The film opens with Alexei's adolescent son Ignat (also played by Ignat Daniltsev) switching on a television and watching the examination of a stammerer by a physician who finally manages to make her patient say without disruptions: "I can talk". 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). "Sight & Sound Revises Best-Films-Ever Lists", "NEW FILM STIRS SOVIET AUDIENCE:'Mirror' by Tarkovsky Is Unorthodox and Popular", https://www.rottentomatoes.com/m/the_mirror_1975, "Michael Haneke: "Art doesn't offer answers, only questions, "Emmanuel Music - Bach "St. John Passion," BWV 245", Poems of Arseny Tarkovsky recited in the film, Voted #16 on The Arts and Faith Top 100 Films (2010), Intolerance: Love's Struggle Throughout the Ages, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, https://en.wikipedia.org/w/index.php?title=Mirror_(1975_film)&oldid=998130800, Soviet avant-garde and experimental films, Russian avant-garde and experimental films, Short description is different from Wikidata, Articles containing Russian-language text, Articles to be expanded from December 2012, Articles with Russian-language sources (ru), Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Ignat Daniltsev as the adolescent Alexei and Ignat, Alexei's son, Tamara Ogorodnikova as Nanny and Strange woman at the tea table, The soundtrack also features an aria from, This page was last edited on 3 January 2021, at 23:46. 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. [11] At various times, the script and the film was known under the titles Confession, Redemption, Martyrology, Why are you standing so far away?, The Raging Stream and A White, White Day (sometimes also translated as A Bright, Bright Day.). 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?”. Richard McKane (trans.) Structurally, there are two moments in the past that are explored in The Mirror: 1935-36, 1942-43, and the present (c. 1974). The film combines contemporary scenes with childhood memories, dreams, and newsreel footage. Timo Hoyer: Filmarbeit – Traumarbeit. ): Projektion und Wirklichkeit. PRICE JUST LOWERED: LOWEST PRICE AVAILABLE!!! These episodes were published as a short story under the title A White Day in 1970. 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. Absolutely. Tarkovsky was very modest about the aims of his film. As an evocation of childhood, the yearning, mystery and pain of it, The Mirror is unsurpassed in cinema. 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”. is better, but obscure.” It’s not just in pre-1989 Soviet Russia where filmmakers were forbidden to use a title by state institutions. Includes many poems used in Arseny's son's films (Andrei Tarkovsky). The Mirror (Zerkalo or The Bright, Bright Day) is a poem. 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. 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. The exterior and interior of Alexei's grandfather's country house are seen. "[22] Goskino did not allow it to be shown at the Cannes Film Festival. A poster of Tarkovsky's 1969 film Andrei Rublev is seen on a wall. 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 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. 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”). Photograph: [Public Domain] Wikimedia Commons Arseny Aleksandrovich Tarkovsky (25th June 1907–27th May 1989) has only garnered a growing international following in recent years. Its cinematography slips between color, black-and-white, and sepia. The Mirror (Zerkalo or The Bright, Bright Day) is a poem. "[32], Tarkovsky's official English translator, Kitty Hunter-Blair, always referred to the film as, In markets outside the US the year of production of, "...remains today most Russians' favourite Tarkovsky film." Yet The Mirror never slips into easy sentimentality (although it does come close once or twice). 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. 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). Tarkovsky was given a budget of 622,000 Soviet ruble and 7500 metres (24,606 feet) of Kodak film, corresponding to 110 minutes, or roughly three takes assuming a film length of 3000 metres (10,000 feet). Instead it is magnificent and profound. I Burned at the Feast: Selected Poems of Arseny Tarkovsky (Cleveland, Ohio: Cleveland State University Poetry Center, 2015) This is the key to understanding the movie. The soundtrack features music by Bach, and Tarkovsky’s father Arseny Tarkovsky reading from his own poetry. [23], Mirror has an approval rating of 100% on review aggregator website Rotten Tomatoes, based on 17 reviews, and an average rating of 9.21/10. The managing director of the festival, Maurice Bessy, was sympathetic to Tarkovsky. A book of poetry by Russian poet Arseny Tarkovsky, translated by Virginia Rounding. And now summer has left..., by Philip Metres and Dimitri Psurtsev And now summer has left / as if it never came at all. His poems appeared in the films The Mirror and Stalker, directed by Andrei Tarkovsky, his son. 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. "[27] Director Michael Haneke voted for Mirror in the 2002 Sight & Sound directors' poll, and later said that he has seen the picture at least 25 times. It is a motif out of the dumbest pop promo (don’t Queen have a video where Freddie releases a white dove?). 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). La vertu de l’image impose immédiatement la présence de la poésie ; elle convainc les tièdes, rallie les partisans, elle attire les curieux : tout le monde veut voir, et voilà souvent de nouveaux adeptes. Arseny Alexandrovich Tarkovsky (Russian: Арсений Александрович Тарковский, June 25 [O.S. The narrator in The Mirror is strictly a narrator, in the technical, literary sense of the term. Mirror never had an official premiere and had only a limited, second category release with only 73 copies. They used to write each other rhymed letters and notes and versify. BY ARSENY TARKOVSKY. It is loosely autobiographical, unconventionally structured, and incorporates poems composed and read by the director's father, Arseny Tarkovsky. [25] Peter Bradshaw of The Guardian called it "a startling piece of film-making" and described many of its images as "transcendentally brilliant". [10], Several versions of the script for Mirror exist, as Tarkovsky constantly rewrote parts of the script, with the latest variant of the script written in 1974 while he was in Italy. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. In 1968, after having finished Andrei Rublev, Tarkovsky went to the cinematographer's resort in … [9] (The final film does indeed feature several mirrors with some scenes shot in reflection.). In a parallel poll by film critics, the film ranks at No. One reason given was that the film is incomprehensible. There was a moment of revelation when the 34 or so scenes fell into the final form. Natasha Synessios wrote that it is closer in structure to a musical piece than a narrative film, noting that Tarkovsky himself "always maintained that he used the laws of music as the film's organisational principle...emphasis placed not on the logic, but the form, of the flow of events. The Mirror was not sent to Cannes (Tarkovsky and co-writer Alexander Misharin blamed Filip Yermash, Goskino’s chairman, for this). Cavafy, those masters of the poetry of nostalgia. 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). Life, Life: Selected Poems (Crescent Moon Press, 2007); Philip Metres and Dimitri Psurtsev (trans.) His renown grew with the publication of his first book in the 1950s and when his son (the filmmaker Andrei Tarkovsky) used readings of his father's poems in his films The Mirror and Stalker. Les yeux qui voient un film ne sont pas les mêmes que ceux qui parcourent distraitement un poème ; ils sont plus attentifs, plus éveillés, plus sensibles. 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. It is no more than a straightforward, simple story. The main reason was most likely the complex and unconventional nature of the script. They employed a common practice among co-writers: they wrote scenes on their own, then swapped them and edited the other’s scenes. Upon hearing that Mirror would not be allowed to be shown in Cannes, he unsuccessfully threatened not to take any other Soviet film. Mirror (Russian: Зеркало, romanized: Zerkalo; known in the United States as The Mirror[3]) is a 1975[4] Russian art film directed by Andrei Tarkovsky. Arseny Tarkovsky . Misharin recalled that he and Tarkovsky only fell out seriously once or twice. The present exists beside the past, not only in dreams and memories, but also in people, in their faces, personalities and actions. 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. Tarkovsky also excludes a crucial part of childhood – education and school; also, the child’s relations with other children. 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. 19. Memories such as the evacuation from Moscow to the countryside during the war, a withdrawn father and his own mother, who actually worked as a proof-reader at a printing press, featured prominently. [16] The naturalist style of the film required Margarita Terekhova to forego makeup completely. It doesn’t have to be made any more understandable. With a bibliography of both Arseny and Andrei Tarkovsky, and illustrations from Tarkovsky's movies. Curiously, Arseny’s first published collection came out in 1962, when the poet was 55 years old; and his son Andrei made him famous by quoting his poems in his films Mirror (1974) and Stalker (1979). Are seen viewed as enigmatic, although that ’ s knowledge of history to fill in the Soviet Union Yankovsky... Is incomprehensible showing a pregnant mother, Maria is seen on a wall personal.. 17 ], Principal photography began in late July 1973 [ 15 and. Stalker, directed by Andrei Tarkovsky deploys it in quite different manner from the INTRODUCTION: Arseny Tarkovsky... Require no gloss ) a book of poetry by Russian poet Arseny Tarkovsky was! 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