tarkovsky mirror script

He often isolates and enhances a key sound over others to … If the scenes were arranged in a particular pattern, Misharin said, some other scenes would be left out. One can press the “CC” button at the bottom of the viewing window in order to display English captions. The Mirror (Zerkalo or The Bright, Bright Day) is a poem. He is the narrator of the poem that is the movie. 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. Behind the camera, Vadim Yusov was Tarkovsky’s regular cameraman up until Mirror. At appr. He is currently (2003) finishing his Masters in Architecture at Harvard Design School. 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. (The newsreels, though, are roughly chronological). 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”). answer to Kubrick's '2001' (though Tarkovsky himself was never too fond of it), but he ran into official trouble again with The Mirror (1975), a dense, personal web of autobiographical memories with a radically innovative plot structure. Cavafy, those masters of the poetry of nostalgia. These episodes were published as a short story under the title A White Day in 1970. This text was originally published as ‘Mirror’ in Andrei Tarkovsky. It doesn’t have to be made any more understandable. 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 newsreel footage in The Mirror is a substantial element in the movie. 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. 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. 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. Though unashamedly introspective, The Mirror virtually achieves a universal transcendence. (Ibid., p. 29). There are moments of forced symbolism – the narrator releasing the bird, for instance, which is intended to relate to his death. The Mirror was “extremely difficult to edit”, Andrei Tarkovsky confessed (my emphasis). 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. Cinema works at the point of viewing in a continuous present, yet it is always, as Jean Cocteau said, “filmed death”. 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. (tr. These images, seemingly a world away from an intimate portrait of childhood, fuse beautifully with the rest of the film. Get this from a library! Andrei Tarkovsky, Writer: Solyaris. (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).). That screenplay was shelved, later to resurface as Mirror (1975). The film uses numerous techniques to render a life, including the juxtaposition of timelines from the past, present, and future of main character Alexei’s life, the utilization of the same actors and actresses in multiple roles, the overlay of poetry over the visu… 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). 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). 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. Since his death in 1986, Andrei Tarkovsky has become increasingly recognized as one of the great masters of world cinema. The Mirror is the closest thing in cinema to a poem by Rainer Maria Rilke, Arthur Rimbaud or C.P. 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). 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. Like the poems of Rilke, Cavafy and Rimbaud, The Mirror is a dense mesh of constellations of images and memories, a veritable mnemonic banquet. Andrei Tarkovsky was born in April 1932, in Zavrazhe, some 500km away from Moscow. 1 hr 12 mins. Stalker (1979) had to be completely reshot on a dramatically reduced 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. 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. Again, in Sculpting in Time, Tarkovsky explains how memories work as some sort of artistic reconstruction: Generally people’s memories arc precious to them. Why Are You Standing So Far Away? 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 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. In 1983 he ☛ Mirror by Andrei Tarkovsky, 1975. 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. 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. He made five more films in Russia: Ivan's Childhood, 1962, Andrey Rublyov, 1966, Solaris, 1972, Mirror, 1978 and Stalker, 1979. Only a few movies – like The Magnificent Ambersons or Akira – have a similarly miraculous first reel. In a 1975 interview, Andrei Tarkovsky said pace The Mirror that “there are no entertaining moments in the movie. 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. The Bright, Bright Day screenplay had opened with a scene in a cemetery, and a funeral. Andrey Tarkovsky was born in Zavrozhie on the Volga in 1932. The Mirror was not only about Tarkovsky’s past and family; there was plenty of Misharin’s background in there, too. Some of the newsreel will be familiar (the nuclear bomb explosions require no gloss). 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 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). 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. 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. 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 … The title was taken from a 1942 poem by his father, Arseny Tarkovsky. It’s limp. The quote reads: “A poet must stir the soul, not nurture idolaters.”. As Biró emphasises, signposts in form of intertitles, change of camera angle or a switch … 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. 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). is better, but obscure.” It’s not just in pre-1989 Soviet Russia where filmmakers were forbidden to use a title by state institutions. The concept of The Mirror dates as far back as 1964. In February, 1973 Tarkovsky wrote: “I don’t like The Bright Day as a title. Tarkovsky also excludes a crucial part of childhood – education and school; also, the child’s relations with other children. The movie could be extended indefinitely through a variety of age ranges: 2, 8, 15, 19, 26, and so on. All the characters share that plight―they are tongue-tied, they stutter; overwhelmed by emotion they speak in … 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. Instead, Tarkovsky relies on the viewer’s knowledge of history to fill in the gaps. In cinema, Tarkovsky said he wanted both the documentary, factual approach, in which every detail must be accurate, and the emotional, subjective, inner truth. The first, the oneirically definitive house, must retain its shadows. 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 a historical, social and personal continuity. 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 beautiful memories are those of childhood. There was a moment of revelation when the 34 or so scenes fell into the final form. It might have turned out self-indulgent and pretentious. Book of Andrei Tarkovsky's Mirror. 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. 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). Part of what makes a Tarkovsky film so atmospheric is his unique approach to sound design. 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 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. Instead he chooses two ages, five and twelve, in which children are still children, and not restless, disaffected, disappointed teenagers. 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. First, the scattered memories, which are at times enchanted and at times dreadful. 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. Confession is pretentious. Tarkovsky acknowledged that The Mirror was the most complex of his films structurally and dramatically. 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. Absolutely. 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. It is marvellously self-reflexive, yet avoids all the traps of inwardly-looking art. Tarkovsky’s Mirror is about many things. 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). (And, to reinforce that, The Mirror quotes from poetry far more than novels). Ignat would thus have been introduced differently. The narrator in The Mirror is strictly a narrator, in the technical, literary sense of the term. There is no denying the lucidity and poetic authenticity of these mnemonic images. 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 release of Andrei Rublev was delayed until 1971. T o judge from his published diaries, the 1970s were a difficult period for Andrei Tarkovsky, full of anguish, heartache, and uncertainty. 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”. Q: In Mirror you have presented us your biography. Structurally, there are two moments in the past that are explored in The Mirror: 1935-36, 1942-43, and the present (c. 1974). 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. This is the key to understanding the movie. 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). 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). Misharin helped Tarkovsky to cut out a whole section of Andrei Roublyov). There is so much going on, so much that is startling. 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 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. 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. 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. 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). All the characters share that plight―they are tongue-tied, they stutter; overwhelmed by emotion they speak in quotes, obliquely; disheartened, they take flight. (quoted in Mirror: The Film Companion by Natasha Synessios, London: I.B. First Meetings Arseniy Tarkovsky Every moment that we were together Was a celebration, like Epiphany, In all the world the two of us alone. All we communicate to others is an orientation toward what is secret without ever being able to tell the secret objectively. He was the first son of Maria Ivanovna Vishniakova and Arseni Tarkovsky. Tarkovsky’s Mirror is a philosophically personal and autobiographical film dealing with memory and temporality. 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. Yet, they’re incredibly atmospheric and poignant. As Andrei Tarkovsky wrote in Sculpting in Time, “a great deal was finally thought out, formulated, built up, only in the course of shooting”). 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. Filming began in September, 1973 and finished in March, 1974. 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. En sorte que, loin de se situer par rapport à une époque dont ses œuvres refléteraient la sensibilité commune – en particulier musicale –, Olivier Assayas a eu très tôt et très clairement conscience de faire des films contre sa génération plus qu’avec elle. [Andrei Arsenʹevich Tarkovskii; Arsenii Aleksandrovich Tarkovskii; Aleksandr Misharin; Margarita Terekhova; Oleg Yanovsky; Moskovskaia kinostudiia A famous instance occurs in The Wizard of Oz [1939], although that’s not time travel). 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. For Tarkovsky, childhood is largely a lonely experience, with parental affection a rarity. 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). As of October 2012, the only Blu-ray edition available on the market is a Russian one without English subtitles. Except maybe through artistic expression: We can perhaps tell everything about the present, but about the past! Instead it is magnificent and profound. The mother and the boy of the past also dwell in the present. It is a movie of fierce self-reflexive intensity – something like Rimbaud in his poem of childhood ‘Les poètes de sept ans’. 03.Ağu.2012 - Spark your artistic passion. But much of it will be unknown to many in the audience. It does not signify life or symbolise it, but embodies it, expressing its uniqueness.” – Andrei Tarkovsky, Sculpting In Time. “You and I could never communicate” in ‘Mirror’ by Andrei Tarkovsky, 1975, at 33mins. 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. It was released in the Soviet Union in early 1975 at a third (then second) distribution category. The present exists beside the past, not only in dreams and memories, but also in people, in their faces, personalities and actions. But Andrei Tarkovsky deploys it in quite different manner from the typical TV documentary. In 1968, after having finished Andrei Rublev, Tarkovs… 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. 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. Misharin said people reckoned they knew which were the scenes Tarkovsky had written and which were his, but often the opposite was the case. Tarkovsky was very modest about the aims of his film. In 1960 he graduated from the Soviet State Film School with his first film The Steamroller and the Violin. 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?”. SCULPTING IN TIME Andrey Tarkovsky was born in Zavrozhie on the Volga in 1932. 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. Redemption is a bit flat, it smacks of Vera Panova. T he existence of this book was—to your humble Nostalghia.com webmasters—for several years a mere unsubstantiated rumour. 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). The movie, though, soars above pretension and artifice by the magnitude of its passion. Mirror covers three distinct time spans; the mid-1930s, the time of the Second World War and the present day, presumably set in the 1970s. He feels he hasn’t loved them enough, and this idea torments him and will not let him be.”. 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. by Maris Jolas, Beacon Press, 1994, p. 13). 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). 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. 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. 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 Film Companion, p. 110), Related: “His pasts await him” (The Invisible Cities by Italo Calvino, 1972), • By Philippe Theophanidis on October 3, 2012 ― Published in Art, Communication, Movies | Tagged: Bachelard, childhood, couple, home, incommunicability, melancholy, memory, past, phantasm, Russia, séparation, Tarkovsky. Images from Zerkalo [The Mirror] (Andrei Tarkovsky, 1975). James Macgillivray is from Toronto. 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. This must be the ordinary story of a life, with its hopes, its faith, its grief and its joys”. 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. Characters are compared to each other, while others are irreconcilably opposed. 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. Two main themes nonetheless seem to dominate the story when I last saw it. 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.

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