Why does great art always touch our hearts? What moved us when we saw Van Gogh's paintings. Is it his drawing skills? Despite his superb drawing skills, it is clear that we are not only moved by his drawing skills. Through Van Gogh's paintings, we see a life, a life composed of segments of Van Gogh's life experiences. In this self-portrait by Van Gogh, Van Gogh is looking at us, and we are also looking at Van Gogh, we are facing each other in the long river of history. We don't have to yearn for a time machine anymore, that piece of art is a time machine, and through just one painting, we can go across thousands of years and feel the real life of the artist. It can be seen from this that art is life, and it is not all kinds of skills that can impress us, but life itself. Only one heart can impress another heart. ——————————————————————— There is no doubt that Tarkovsky's "Mirror" is a great work of art, and Tarkovsky borrowed the One's own life experience has constructed another life, and finally reached divinity through human nature. In this film, Tarkovsky is making an unprecedented attempt, and it is very successful. He tries to simulate the human mind and use images to construct the human heart. The whole movie can be seen as a simulation of memory, and the movie portrays the memory itself in reality. Regarding memories, memories have various elements, time, emotions, uncertainty, dreams... In a sense, memories are our minds. If Tarkovsky wants to express his mind, he is climbing towards the top of the film. He successfully did it with his keen artistic perception and superb audio-visual language, and "Mirror" is still an unattainable height for film art. ——————————————————————— The main ingenuity in the film is the ubiquitous voice-over but there is a protagonist who is nowhere to be found, the protagonist Always hide behind the scene. It seems very strange at first, but this is actually the logic of our memory of the subject. When we are remembering, the subject disappears, and there are only various object images. Memories are fractured, how do you differentiate between memories and dreams? Like dreams, memory is also unstable, so it has triggered Descartes' philosophical speculation, and we will not discuss philosophy for the time being. Tarkovsky mixes memories and dreams in the film, where time and space are chaotic. In one scene of the movie, the son of the protagonist was in the same time and space as the colleague of the mother of the protagonist when he was young, and the mother of the old protagonist. At the same time, the director creatively used the imprint of the hot water cup on the table to express the passage of time. Intervention of historical narrative A large number of scenes in the film come from black and white images. Black and white images are intertwined with color images. Most of the black and white images come from historical materials. There will be no shortage of historical events in a person's memory. Our past is being written by history, so the migration of Jews, the victory of World War II, the death of Hitler, the rise of China's whdgm... The narrative of history, the shackles of ideology are It is difficult to erase part of a person's memory. The combination of historical narrative and personal narrative is that the history of the rise and fall of the Russian nation is depicted, and everything ends with Pushkin's article in the film. Regarding the construction of memory, in my opinion, it is all based on one shot of the film. It happens during the conversation between the protagonist and his wife. When the conversation ends, the protagonist who has never appeared still does not appear. At this time, the foreground of the camera is suddenly blurred and focused out the window in the rear. I suddenly realized that the protagonist is always present, and the director used the camera to simulate the psychological activities of the protagonist, which is also a psychological activity that all of us have in our daily life. When we are impatient to listen, we will look out the window. As a result, everything in the movie is sufficient, and everything in the movie is infinitely close to reality, even more than reality itself. At the same time, the use of the director's lens is also different from that of ordinary movies. Most movies emphasize the objectivity of the lens, while Tarkovsky is uncharacteristically, he always makes the audience aware of the existence of the lens, and uses the lens as a pair of eyes for the audience, Here, memory becomes a labyrinth, and the lens is the guide. Using the eyes of the lens to bring secrets, we explore the mystery of memory. The film's simulation of the mind is not only reflected in the level of consciousness, but also vividly depicts subconscious scenes. I personally don't tend to interpret those pictures that are difficult to decipher. Those pictures that may remain deeply in the director's memory are the director's childhood. personal impressions, a strong wind in the forest, the horror of the mother's washing at night, the imagination of the childhood fire, the mother's soaring pregnancy... These scenes are more or less from the director's childhood experience, and the personal experience is transformed became a universal artistic image. When the protagonist's child looked at the mirror, a strong symphony sounded, the child seemed to have achieved some kind of transcendence through the mirror, all the forgotten and hidden things appeared, and the two identical people in the mirror seemed to form another A kind of symmetry, a kind of reincarnation, the reincarnation of all souls. At the end, the divinity suddenly appeared in the image. When the past and the present were placed in one place by the director, every camera position and every composition of the camera, the ups and downs of the music seemed to be arranged by God. Not only does the image have divinity, but the viewer himself examines a soul like a god. The film's simulation of the mind is not only reflected in the level of consciousness, but also vividly depicts subconscious scenes. I personally don't tend to interpret those pictures that are difficult to decipher. Those pictures that may remain deeply in the director's memory are the director's childhood. personal impressions, a strong wind in the forest, the horror of the mother's washing at night, the imagination of the childhood fire, the mother's soaring pregnancy... These scenes are more or less from the director's childhood experience, and the personal experience is transformed became a universal artistic image. When the protagonist's child looked at the mirror, a strong symphony sounded, the child seemed to have achieved some kind of transcendence through the mirror, all the forgotten and hidden things appeared, and the two identical people in the mirror seemed to form another A kind of symmetry, a kind of reincarnation, the reincarnation of all souls. At the end, the divinity suddenly appeared in the image. When the past and the present were placed in one place by the director, every camera position and every composition of the camera, the ups and downs of the music seemed to be arranged by God. Not only does the image have divinity, but the viewer himself examines a soul like a god. The film's simulation of the mind is not only reflected in the level of consciousness, but also vividly depicts subconscious scenes. I personally don't tend to interpret those pictures that are difficult to decipher. Those pictures that may remain deeply in the director's memory are the director's childhood. personal impressions, a strong wind in the forest, the horror of the mother's washing at night, the imagination of the childhood fire, the mother's soaring pregnancy... These scenes are more or less from the director's childhood experience, and the personal experience is transformed became a universal artistic image. When the protagonist's child looked at the mirror, a strong symphony sounded, the child seemed to have achieved some kind of transcendence through the mirror, all the forgotten and hidden things appeared, and the two identical people in the mirror seemed to form another A kind of symmetry, a kind of reincarnation, the reincarnation of all souls. At the end, the divinity suddenly appeared in the image. When the past and the present were placed in one place by the director, every camera position and every composition of the camera, the ups and downs of the music seemed to be arranged by God. Not only does the image have divinity, but the viewer himself examines a soul like a god.
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