The idea of ​​"Mirror" dates back to 1964 when Tarkovsky wanted to write a film about dreams, visions and memories, so some passages were written when Tarkovsky was working in his iconic film (Andrei Robolov). His first name (A White Day) was one of the poems of his father Arsini. After he finished (Andrey Robolov), Tarkovsky decided to collaborate with Alexander Misharin in the screenplay entitled "Confession" 1968 The reason is the nature of the complex film. This refusal did not stop Tarakovsky from thinking about his work even while working on another film. When the text was ratified in 1973 by the new president of the Film Audit Committee, Tarkovsky began working under the title Mirror in September 1973 and ended in March 1974. But even the new president of the Film Audit Committee rejected the film when it was completed because of its ambiguity. Summer that year, which angered Tarkovsky and decided to travel abroad, until the film was finally approved in the fall of 1974 without changes after 10 years on the first idea. Even the public and the critics did not first draw attention to this work until after many readings, reviews, readings and opinions in the early 1980s.







Andrey Tarkovsky







   Andrei Tarkovsky was born in Ivono Oblast on April 4, 1932, from the father of a great Russian poet (Arsene Tarkovsky) and from a mother who worked in acting and later appeared in his films. Arsini - his father - recalls that he was oriental. (Andre) first to enter the Arabic language at the beginning of his life; until his poor health led him to leave the study of Arabic literature later, to begin his studies at the Film School at the Institute of Cinema State Film in Moscow in 1955.







   Vilma (Ivan's childhood) and (Andrey Rupilov) led Tarkovsky to a fierce and vicious campaign within his country of the Daoudi party, stemming from his accusation of defamation. Most of the film material has been destroyed for his film (Guide) during its development. Tarkovsky felt a lot of pain and lost patience and left his country. And this did not stop the poor enemies, where the Soviet authorities took a decision at the time to prevent his wife and son Andryusha from leaving the country in order not to join him ..!



   His cinema is famous for its photographic and spiritual orientation. His works are dominated by his personal memories, which take on a sad touch following the separation of his parents at the age of five, in addition to his father's poems, his reflections, his research in life and beyond, and the biography of the homeland through the history of people's lives. If his work with his friend the poet (Andron Konshalovski) took out the most important films (Andrei Robleov), his film (mirror) is one of the most reflective work and depth in time and memories and the homeland, Tarkovsky challenged the image not to show the hero of the story in front of the camera and only show his voice, With a fantastic combination of documentaries, sensation and image that makes the film look like a long dream.







   Tarkovsky made his final film in 1986 preparing the soul for death under the name of "separation" in Sweden. His photography site was chosen to represent the nuclear bomb scene in his film, the same place where Swedish Prime Minister Olof Palme was assassinated in the same year. , And then had cancer. He then passed away at the end of the year and was buried in Paris. The tomb of the famous Russian sculptor Ernst Niaizvistini was inscribed on the tomb, with the inscription "Man who saw an angel".



   Instead, many blame me because the characters of my films are not heroes. There is a tendency that a hero should be something enormous, huge and mighty, violent or cruel, a kind of robot. My characters are not, and can not be, because I am convinced that such men do not exist, they can not exist, and they must not copy, because one has to copy or clone the void, and the public is aware of it, and he can never believe in a hero made of Iron. "The open idea is a lie," one poet said.



   Tarkovsky is currently the "second meditator" as he knows within the film circles after the "first meditator" Ingmar Bergman. She sits on the throne of Russian cinema through her history with Eisenstein.







Tarkovsky says about the mirror:



   I am convinced that thanks to personalities of this particular kind, society can become strong and look forward to the future bravely, but can resist anything that is aimed at undermining it. Completely in this main character film is presented as a weak and highly reflective figure. She is like a sick man who remembers his life during the crisis of his illness, without knowing whether he will get out of his illness unscathed. Because of this we see exactly what he remembers. Instead, here, a dying man, this very weak man, we see him showing himself strong, because, after all, he does not belong to himself. He belongs to the people he remembers, he belongs to the love he gave him. And if he did, it was only because he did not love those who loved him enough. Is this weakness? This is strength.



   I follow the idea consciously or unconsciously. In other words, it's as if I were telling the same story every time: the story of a man that society considers weak, in what I consider to be strong.



   I will begin this time with my critical vision, which I will use in the presentation, for the difficulty of separating my vision from the incidental reading, and then I will divide the talk of the film into talking about the scenes as parts that are easy to extrapolate. The extrapolation in our case is also one of the parts of understanding and narrative. Once again I go back to Surrealism, not just the way I look at her style as much as I am looking for the meanings of the privilege to let my imagination unleash a personal understanding that will inevitably differ from person to person. This film is not so famous or the complexity of the film Un Chien Andalou Bonneuil, which I talked about not long ago, we are here in front of the voice and colors and events are not linked to film, but historically linked. On the other hand, the sounds and colors of Surrealism did not escape here. The poetry of the narrator was as impressive as it sometimes seemed to be foreign to the picture. The colors were cleverly used to increase the importance of the scene or to diminish it and sometimes to encode the old event.



   In the film "The Mirror" in the scene of the military guide. There are two or three shots inspired by Bruegel's paintings: the boy, the short-stoned people, the snow, the bare trees, the river from afar. I made these shots in a very conscious and thoughtful way, and not as a demonstration of the size of my culture. As much as I wanted to give a testimonial of love and recognition to Progl, to depend on it, I wanted to express the profound impact it has left in my life.







   I like to change the way my films do not know how. It would be great, to imagine a movie completely free, just like amateur when they are doing their movies. Abandon the high budget. I like to have the ability to observe and observe nature and people carefully, and to photograph them without delay. The story will be automatically generated as a result of that observation and observation, not through those images that are forced or forced to portray, those designed in fine detail. Such a film would be difficult to distinguish, in the way commercial films are distinguished. It will be filmed absolutely free, not subject to lighting or to actors or working time in photography ..etc .. and reduce a bit of the camera inspection from time to time. I think that such a way could push me forward.







The mirror .. The homeland is the homeland and the generations are following ...



   Yes, it's a loose autobiography or an epic poem with lots of news and documentaries, decorated with high-quality music from Las Bach, Bergolizi and Brussels. The author lists it as he remembers it, not according to its hierarchy. What supports this trend is that the narration of the story does not appear in front of the camera, and we do not actually see it in the picture, although we realize that all events surround it. Is it a state of confusion? Maybe, but it is a smart distraction, and a soft, funky muffler is like a childish board of characters and things, and things look more profound and credible than mere looking. If it is directed to sensory persons, not visual .. Those who take the picture without the content will not see anything in the film is not recommended to watch, and may feel frustrated and boredom and confusion, which leads to stop watching. Anyone who enters the sense of Tarkovsky will get a great deal of emotions and human events when he can separate the scenes and attract them, stop the show and then see again .. A non-physical spiritual view, looking for our own country and our memories and how similar to what was listed, And breathe it out behind them, and explore the written truth between the lines of dissociation of unity and objectivity.



   It is not difficult to see Zerkalo (the mirror) in three generations: the generation of the child, the generation of the novelist and the generation of his father, the generations before, during and after the war. But there is no general clarity or time difference between the narration of events, which makes the reader very confused with watching the film for the first time to delete the temporal factor serial, take events then the direction of the dream or memories, we are in our memories and dreams do not remember things chronologically and do not dream of people Different according to time.







From the mirror film by Andrea Tarkovsky



   The opening scene looks like a session of hypnosis sessions to treat a young man who is stuttering in his speech, the child (Ignat) watching on television. It is a relatively strange spectacle, and it is certainly a distinct beginning to incite us to think that the film is far from what we see. Then begins the personal scraps with the scene of the woman (Margarita Terekhova, who will play the mother and wife together during the film), which sits on a wooden fence of her house overlooking the forest waiting from afar, and left two children on a swing .. Happening with the next man - A short talk does not seem friendly. Tarkovsky seems to quote him from the work of the famous Russian writer Anton Chekhov. When the man moves from where he came after talking and falling from the fence, which could not bear the weight together, the poems of nostalgia begin to angelic flow without any music Accompanying the images of the sad woman and her two oppressed children.



   What increases the confusion in the work is to use the same actors to embody the different roles in generations, who represents the mother is the same as representing the wife, and this was intended to show us the extent of similarity and perhaps to tell us that history is repeated, and has always been burning femininity and love despite the rivalries. On the history of history, perhaps in his search for his childhood and the details of his father's life, he may have been a picture of the link that was not so much available between them. Surrealism is also a feature of moving the camera out of time to time, although Tarkovsky sometimes tried to help us understand this exit by giving or stopping colors. It is true that the events seem introverted and have few characters and tend towards the blackness and death, but they appear effective and influential and great performances as a call for reconciliation with the self. I do not think that the film did not win awards, despite the praise of critics (now), except for the media war and after it completely from the commercial, we all know that the media has a great role in highlighting the person or work and blocking others. In general, the characters have a very large area of ​​freedom. Tarkovsky has given her every freedom to use her cinematic tools and to express expressive art in its features and movements. This is based on a poetic text that does not seem to have many dialogues, based on the transformations of the picture and colors. Sound or musical background. Once again, "the greatness of the work of Tarkovsky's ability to marginalize the main character in several chapters seems to make us feel that it is merely a witness or evidence of that pathetic and tragic era in the life of that constellation of humanity." In front of the camera, as if we see only his eyes so we can not see his body.







We celebrated every moment of our meeting



As if it were the moment of the "advent of the Lord"



We were alone in the whole world

I was more lighthearted and more active than the bird wing



I was dizzy

You come down in peace and lead me through the wet lychee plant

The doors of the mihrab were opened



To your territory behind the mirror glass
When the night is over

Naked was shining in the dark
I was struck by mercy

But you give in deep sleep



Slowly swaying

When I woke up to sleep I said:
God bless you

I was aware that my blessings are great

   The next move to the colored stage with the wife (Natalia), which her husband accuses her of being like his mother while telling him that she fears the similarity between him and his son (Ignat), and also shows here that they separate when they choose to stay with one of them ..! Then suddenly jump to the Spanish guests at home seems to be related to the war, and they do not feel comfortable to be at home, in return the owners of the house do not seem comfortable with them! It is hard to see why this scene is actually involved in the film unless we try to make it approach another scene that shows the world war that the father shared.



And for your lips to touch the blue of the sky

The scent of the lilac blossom flowed from the table

Your hands were quiet and your hand was warm



The rivers were beating into a ball of crystal



The mountains breathe in smoke ..



And you sleep on the throne



The crystal ball was above your palm



I have perfected and changed the dictionary of ordinary humanity



O justice of heaven! You've been me



Its new meaning is "angel"



The conversation was filled with force



I discovered that the word "you"

   A fire breaks out the flow of poems to be the next scene of a country house burning close by warning the mother (now seems to be Natalia's wife?) Her two children from him. Here the colors are cut off and we are in a dream that seems to be related to the fire in one of the children. In this dream, the house is lit from the top and the mother is washing her long blonde hair with the help of an unidentified man. It seems that this dream is fraught with tension and fear. It seems that the relationship between the father and the mother (Marusia or Tarkovsky) has been broken, which appears to have turned negatively in the relationship of the child to his mother, which we see as a cliché that shows signs of aging when the mother looks in the mirror. Age.







   And we quickly make sure the chill of the child's relationship with his mother when we hear a phone call between them after a long time of the incident, we do not see either side of the picture but moving us in the corners of the house and windows and hear their voice, which shows that they have grown old .. Then see - without colors - Rushing to where you work to inspect something we do not realize in the printing press in which you work, as if in the case of publication will be an unforgivable sin. After a long search, she discovers that what she feared did not happen, so she gets a state of intermittent happiness until another start that does not seem friendly with Eliza, who reprimands her for things that seem more personal than the patience of her husband until then. When Maria goes for a shower - with a new flow of poetry - the water breaks off, which makes her laugh, and this may have symbolic dimensions and meanings more than the principle of indifference and inability to get rid of all the impurities of her life.







   The other historical jump is apparently a national issue, as a continuation of the war situation, but it was more concerned with freedoms this time. When the Ignat School asked him to read something from a book that appeared to be a message from Pushkin to Chagadev:



   I do not know whether Ignat decided to stay with his mother or not, but the next colored scene is where the child and his mother are looking for a shelter, so they come to the house of a lady who seems to be close to what the parents of Ignat. For the woman who seems to have a commercial mind, he offered his mother a sale. Then we see the beautiful woman's child who seems to have wished she was a girl. The strange thing is that the lady offered to kill her to cook for them. She is not pregnant and will get sick. Of slaughter. The guest apologizes first because she has not done this before. The woman then suggests that Alyosha (who seems to be the name of Dylan Ignat) to slaughter the cock as a man - in any case - which makes his mother do it herself. During her attempt to slaughter the cock, she remembers her husband and takes responsibility for all the problems that go through her life in a scene in which she has an expressive image as she flies without an attraction on her bed and shows signs of pregnancy. Then she woke up awake from the dream of her vigilance and decided that she would not stay the night at the nearby and intends to migrate with her son in the event of the wrath of nature and cruelty.



The division of the Church has isolated us from Europe and we have not shared them in the great events it has invaded, but we have been told, in particular, that Russia, with its vast hospitality, swallowed up the Mongol invasion. The Tatars did not dare to cross our western borders and retreat into their valleys. In order to achieve that goal, we had to retain a certain life, which kept us Christians but made outsiders of the Christian world. As for our historical weakness, I can not agree with you that you will not find anything important in the current situation of Russia, what will surprise the historian in the future? But I swear to you that I did not want to change my country to meet anything in the world or to have a history other than the history of our ancestors, that is, the history of history, history, history, history, history, history and history. Which our Lord has given us.







   It is strange that with the end of the letter and with the ways of the door, Ignat opens the door to find a woman who has mistaken the house and then when he enters, the teacher is evaporated or gradually melted on the table in front of her as though she had no right to keep a message that does not seem to swim in the "positive" political orbit! During the child's reading of the letter, many documentary images of the battles fought by Russia in the Second World War appear again, and Tarkovsky repeatedly confuses history, especially since the letter was in the 19th century.



   The next scene, the color of the war, also shows us the suffering of the children of war who train in the firing of the nuts. Then we go back to see the documentary facts of the wars and their cruelty, before Tarkovsky leaves us with a brief glimpse of the memories of love The child then comes back from the battle asking about his two children, but this time he seems more determined to take his son, and more able to compare his wife to his mother even through the pictures, although he admits that guilt is not the fault of his mother alone .. And if the scene of the return of the father and the joy of children By its vibrant colors and thus, the scene is intertwined between the man and the g Was Jtah cold in black and white, where it seems that the man had learned the relationship between his wife and (Dostoevsky), a writer who was not famous in an interview with the couple time he did not publish anything until then.







Then the flow of hair begins again when the temperament of nature is calmed by an existential philosophy of belonging, spiritual isolation, death and the worlds of asceticism:



Man has one body as if in isolation

And the soul was broken from its eternal body

With ears and eyes the size of a piece of metal dinar

And hear through the bars of her living cell



The skin scarred and clothed on the temple

Fly the soul through the cornea of ​​the eye to the heavenly couch
To the icy beam of the bird
Forest noise and fields

She has no idea, no work, no curriculum, no line



And the sound of the trumpets of the seven seas

It is the sin of the soul to remain isolated from the body like an object without a shirt
There is no solution to this mystery .. who will return to the back

A cluster of lilac flower fragrance



After dancing in that field where no one performs the dance?
I dream of the other self and the other garment

Fire like alcohol without a ghost is going on the ground
Burning during her escape from hope to hope


Leaving the memory on the table

During the song, we watch the windy house and watch several childish acts. Then the film ends with a view of the vast meadow, perhaps where we started. But here we see the mother (Marusia) lying on her husband's chest, which asks her if she prefers a boy or a girl do not answer and just smile ... As if the hope and happiness at the new bride .. Perhaps this is indeed the beginning of events Tarkovsky presented us at the end of the film to confirm the abstraction of time in Work .. Then go back to the old lady Nmsk two children (her grandchildren) in the same green meadow and two lahi behind them cut by the limbs of the jungle interlocking.
The explanations of the symbolism as Tarkovsky said in an interview with the famous Italian journalist and novelist (Tonino Goyer) and in his book (sculpture in time):


- We wanted the sound to be close to the swish, from the sigh, and to be full of poetic inspiration. Musical tones had to convey the fact that reality was conditional, while producing precise mental states and generating the inner world sounds of someone. Artemiev had to use a very complex solution to achieve the votes we wanted. Electronic music has to get rid of its chemical assets so that we listen to it - we may capture the world's essential tunes.
- Right. There are things that are always the same. Certain bottles, specific old books, mirrors, objects and small widgets on the shelves or on the edges of the windows. It's the things I loved to own in my house, and now she has the full right to find herself in one or more shots in my films. If I do not like those things, I simply do not allow myself to keep them in the film, even though my characters differ from each other in their behavior, temperament and way of thinking, and do not resemble me. However, from this point of view, I try to eliminate and remove anything I do not like about the shot.



- Music is often an introduction as part of the material of life, from the spiritual experience of the creator of the work, and thus as an essential element, full of vitality, in the world of film hero. Music can be used to make a necessary distortion of the visual material in public perception, to make it more dense, more heavy, lighter and more likely, more transparent, more gentle - or, conversely, more coarse. By employing music, the director can stimulate the audience's emotions in a particular direction and broaden their perception of visual images. The meaning of the thing does not change, but the same thing takes on a new look. The audience sees it (or at least has the opportunity to see it) as part of a new process in which music is complementary and awareness deepens. But music is not merely a follower, or a secondary part, of the visual image, but must be an essential element for the realization of the general idea as a whole. When music is properly employed, it has the power to change the emotional tone of the scene.
- Rain can be seen as a bad weather, but I use it to create a special aesthetic environment in which the motion of the film is soaked. But that does not mean at all that nature is portrayed in my films as a symbol of something else. In commercial cinema, nature - mostly - never exists. We see only convenient lighting and indoor locations for quick shooting. Every person follows the plot and no one gets upset by the artificiality of the site or the disregard of detail and atmosphere. When the screen brings the real world to the public, the world as it is, so that it can see in its depth and in all its aspects, to evoke its true smell and to feel its tone or dryness on His skin .. When the screen does so and does not respond to the spectator it means that the spectator has lost the ability to recognize the aesthetic impression of direct emotional, and immediately begins to restrain himself and ask: Why? For any reason or purpose? The answer is that I want to create my own universal screen, in its perfect and perfect form, as I see it and sense it. I do not try to act shyly with my Republican, or to conceal some of my secret intentions, to re-create my world with those details that seem to me the most perfect and accurate expression of the elusive meaning of our existence.


   I apologize for the very lengthy subject .. But the necessity of the provisions .. And the surrealism of the work and its symbol deserve to dwell on the talk if we want to deal with the logical picture that may try to fulfill the right of study and scrutiny, such cinema is surrounded by few words and subject to the visions of personal relative, and I tried to support it To say the owner himself publicly we understand more than his work, which is difficult to understand what it is - before we try to understand beyond - by watching one .. And if many will find in the work of a series of stories .. As a whole biography .. As if several personal thinkers we read Together without knowing its arrangement or surrounded by life Act, it remains truly strange worthy of appreciation in each case
- In my film "The Mirror", permanent, eternal, and profound human feelings. These feelings were a source of confusion and misunderstanding for the hero who could not understand why he was destined to suffer and always suffer from it because of his love and passion. The main character is presented as a weak and highly reflective figure. She is like a sick man who remembers his life during the crisis of his illness, without knowing whether he will emerge safe from his illness in the hope.

- In my mirror I wanted to make people feel that Bach, Bargolisi, Pushkin's letter, and soldiers forced to cross Lake Sivash, as well as intimate local and family events, should feel that all these things are - in some respects - equally important as human experience. Relates to the individual's spiritual experience, what happened to him yesterday may have the same degree of significance and significance as it did to mankind a hundred years ago.