Alexei, while having a conversation with his ex-wife Natalya (also played by Margarita Terekhova), confesses that she resembles his mother without revealing the dreams he is having and his fears about his kid Ignat. Tweet Share Post Bookmark. The episodes in themselves are really good, but how can one find what holds them together?”, “The film is so unlike anything I’ve ever seen that I don’t know how to go about it, how to appreciate either the form or the content. For any request, contact us by mail. The plot now shifts to the alter-reality of Alexei, where the mysterious women appear again (who seemed to Ignat sometime before) and have a discussion with a doctor about the critical condition of Alexei. Will, feeling, emotion – these remove obstacles from between people who otherwise stand on opposite sides of a mirror, on opposite Using the typology of anxiety developed Long takes, slow pacing and metaphorical imagery – they all figure into the archetypical Tarkovsky film. Shot between 1962 and 1986, Tarkovsky’s seven feature films often grapple with metaphysical and spiritual themes, using a distinctive cinematic style. December 12, 2019. Maria is called Maroussia by her colleague in this episode, where she gets stressed for misplacing something important. The most interesting revelation of this prologue is the amount of letters that Tarkovsky received after the release of his film The Mirror (1975), with the most disparate contents: there were people accusing the film, others who praised Tarkovsky’s personal style and those who didn’t understand anything. While he imagines that phase, his mother feels about his children. It is inferred that Alexei is suffering from a grave (but unknown) disease and do not have much time left. The film conveys the parallel lives of a Father and Son, who are both the victims of lost-childhood. The most interesting revelation of this prologue is the amount of letters that Tarkovsky received after the release of his film The Mirror (1975), with the most disparate contents: there were people accusing the film, others who praised Tarkovsky’s personal style and those who didn’t understand anything. She is verbally attacked or questioned by her colleague for her self-obsession and not feeling sorry about the divorce. The scene cuts to the extensive newsreel footage of the War (from Hitler’s death to the Hiroshima bombing). Learn how your comment data is processed. And how simple… You know, in that dark cinema, looking at a piece of canvas lit up by your talent, I felt for the first time in my life that I was not alone…”, “II’ve seen your film four times in the last week. But this is not. The poem is among those quoted in Andrei Tarkovsky’s Mirror: Beneath the jasmine a stone marks a buried treasure. It is conveyed partly in a surreal tone, where the plot suddenly shifts to a dream sequence, and some characters suddenly appear from nowhere and disappear after their work is done. But there wasn’t only criticism. Nor yet at seventy. Reading through Ibn Arabi, the ‘Mirror’ of Tarkovsky requires a deeper analysis. In such way begins the prologue of Sculpting in Time, one of the pivotal writings of the Soviet director Andrej Tarkovsky, born precisely from his need to theorize the practical methods of his cinema. A Scene Analysis from Tarkovsky's "Mirror" - Free download as Powerpoint Presentation (.ppt / .pptx), PDF File (.pdf), Text File (.txt) or view presentation slides online. Do write and tell me please…”, Ennio writes stories about movies, music and more on Auralcrave The Great Dream of Nature in Tarkovsky’s Landscape Tarkovsky’s cinematic … But the film is also unique in the director’s oeuvre for its radically disjointed structure. And her reaction to that is unexplainable. They were clear enough. sides of a door… The frames of the screen move out, and the world which used to be partitioned off comes into us, becomes something real… And this doesn’t happen through little Alekséj, it’s Tarkovsky himself addressing the audience directly, as they sit on the other side of the screen. Mirror is indicative of all of Tarkovsky’s work for its sublime, even miraculous imagery, as equally real as it is surreal. To interpret Andrei Tarkovsky’s Mirror (1975) without focusing on its literary symbols and metaphors is indeed a challenge with its poetic cinematic representation. The narrative suddenly shifts to Alexei’s dream where he sees his mother Maria washing her hair contrary to the fire at their barn. With respect, Andrey, if you are not able to answer my letter in full, could you at least let me know where I could read something about the film? Maria cuts off the cock’s head without having any hesitance. Anyhow, I think your film’s a blank shot. I don’t believe forebodings, nor do omens Andre Tarkovsky's The Mirror is at once a personal recollection of a lifetime of sorrows and a remembrance of wartime emotions perhaps long forgotten by most. The director tries to justify the title over here. PY - 2012/10/1. Following his idea of creating a new type of film, Mirror is a cinematic treatment of memory recollection through dream sequences and archive footage that trace the past of a dying man. After seeing it one is left feeling cross with oneself for being so helpless and obtuse. And then there is another category of audience, the one that managed to reflect their soul in The Mirror. He asks Maria who is expecting,  would you like to have a boy child or a girl? This is an analysis of a scene from Tarkovsky's famous film "Mirror" To my surprise, Alexei replies No, Not at all. Alexei talks to his mother, who still resides in the countryside on the phone and shares his dreams, which are resuscitating his past. Here we have gathered some of the letters that have the most interesting points of attention. This site uses Akismet to reduce spam. T o judge from his published diaries, the 1970s were a difficult period for Andrei Tarkovsky, full of anguish, heartache, and uncertainty. Written and Directed by. A ndrei Tarkovsky’s ‘Mirror’ is a sui-generis work of cinematic art where the auteur rebels with a sense of transcendent nostalgia against his own real life-world experience thereby obtaining a filmmaker’s eternal utopia of capturing the infinite within the finite, the formless nature of memories birthing the formed filmic representation – an ideal oneiric phantasmagoria of deliberate confusion that elasticizes the …