tarkovsky mirror script
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). ☛ Mirror by Andrei Tarkovsky, 1975. True, Andrei Tarkovsky does simplify things by missing out the agony of adolescence. If the scenes were arranged in a particular pattern, Misharin said, some other scenes would be left out. That screenplay was shelved, later to resurface as Mirror (1975). Confession is pretentious. In cinema, Tarkovsky said he wanted both the documentary, factual approach, in which every detail must be accurate, and the emotional, subjective, inner truth. There are moments of forced symbolism – the narrator releasing the bird, for instance, which is intended to relate to his death. (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 title was taken from a 1942 poem by his father, Arseny Tarkovsky. 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. Characters are compared to each other, while others are irreconcilably opposed. 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). Cavafy, those masters of the poetry of nostalgia. 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 script was titled Confession and was proposed to the film committee at Goskino. It is no accident that they are coloured by poetry. It is a motif out of the dumbest pop promo (don’t Queen have a video where Freddie releases a white dove?). 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). 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. A movie of acutely remembered places. The Mirror (Zerkalo or The Bright, Bright Day) is a poem. Instead he chooses two ages, five and twelve, in which children are still children, and not restless, disaffected, disappointed teenagers. Tarkovsky's films include Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). 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 … An iconographic and text archive related to communication, technology and art. 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. 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. Some images correspond to a line in a poem, while the refrains and links are the shots of fire which fade to black. 8,992 Yen (tax incl.) 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.
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