"Mirror", which spans forty years, records the self as an individual and the retelling of the mother and family. In this film, actor Ignat plays both the protagonist’s son and the protagonist in his teenage years; and the protagonist’s ex-wife Natalya and his mother Maroussia are played by the same person. Tarkovsky’s deliberate selection not only generalized the fate of the characters, but also formed a mirror reflection. He set up a mirror for the film, which not only makes the characters contrast with each other, but also makes the reality in the story and Dreams allude to each other. The interlaced "Mirror", it is easy to remind people of Fellini's "Eight and a half" (even the scene where the mother's face grows old in the first dream of "The Mirror" is also similar to that of Guyido's mother in "Eight and a half". The scene that appears is a bit similar), although they all seem very chaotic or difficult to understand, they follow the fact that people's consciousness, memories are always jumping, and the fact that they suddenly cut in, pointing to the inner world beyond the surface.
Tarkovsky, who has always been more persistent, believes that film, as a form of art, has its own possibility of being equivalent to prose. He advocates showing the "poetic" of film, but it is necessary to eliminate all the ambiguous aspects of the lens. The work becomes more artistic and the "poetic" mark is added artificially. Just as the portrait painting by Leonardo was introduced in this film, it not only represents an element that transcends time (the film strives to break the limit of time), but also emphasizes the love and disgusting qualities of the heroine. The two are combined into one. It is no longer possible to separate from it, so that when Maroussia was forced to kill the noble lady, we would associate her with this portrait with a mixture of indifference, arrogance and anger. Tarkovsky's "Mirror", although lingering in a surreal atmosphere, this atmosphere is not a deliberate artistic method, but the director's goal to achieve his own ideas; the series of dreams he created are not intended to be metaphors What or what it symbolizes is more important to express your potential experience to the audience. The so-called motive-power for dreaming is provided by the subconscious. Therefore, dreams are often what people really see in their hearts. Ta's dreams without concepts and symbols represent an inner consciousness. Flow makes the film not only have a "poetic" art form, but also embodies the most true record of the soul.
"Mirror", once named "confession", breaks a state of "occlusion" with a female doctor helping a boy with a stuttering problem speak, and also reflects that the director Tarkovsky finally relieved a certain These shackles bravely express the emotions in the heart. These emotions or memories are mixed with a lot of pain (such as the departure of his father, the difficulties in wartime), so that Ta's reluctance to mention and review before filming "Mirror" (despite the "Planet" "La Rose" has talked about his relationship with his parents); in a wartime memory in this film, he was a little confused and inserted the orphan who pulled off the grenade bracelet, and the seemingly indifferent instructor. The role just shows that Tasman himself has lingering scars just like them.
Tarkovsky’s "Mirror", based on the dialogue of an unfamiliar male doctor that appeared soon after the film began, accused people of not having time to pay attention to inner or essential problems; afterwards, the protagonist talked with his mother and said that he was suffering from Laryngitis (to pave the way for her critical illness later), did not speak to anyone for three days. The silence of the protagonist, in addition to expressing the paleness of the language and not enough to say everything, also implies that the logic of reality may not be able to express all of the heart (so an imaginary scene appeared before); and "Mirror" through the indefinite His thoughts and chaotic dreams have opened a gap, allowing the hidden things in the heart to fly out, so as to get closer to the "essence" more easily. Tarkovsky, who is dissatisfied with symbolism, has included rain, fire, and wind from the grass, trees, curtains, or the flowing hair and clothes of the female actor in the printing house in "Mirror". , But these seemingly symbolic elements, as I mentioned in the article "Planet Solaros", are just common phenomena in nature. Tasman emphasized their purpose and may only hope to highlight the "essence of nature and humans." "The theme, not the profound meaning that some comments have over-interpreted.
As for the news fragments in the movie, although they have a certain connection with the previous plot, I think their role is more in the transmission of emotions, rather than focusing on political or other innuendo (even if they ostensibly touch the movie The scope extends to the Soviet Union and even the modern history of this century). It’s like a fragment of an army crossing the Siwa Khesh Sea, as Tarkovsky said, “It gives us a kind of piercing pain, because the soldiers who appear in the scene are so ordinary and small, they are white and blank. Under the sky, barely dragging his body through an endless swamp extending to the other side of the horizon, almost no one has survived.” The pain presented in this scene, combined with the verse of Ta’s father about “immortality and eternity”, Creates the image of "sacrifice like a hero" and extraordinary emotional intensity; and its shooting method (continuously observing a single event through the lens) also inspired Tarkovsky to adopt a lot of "Mirror" The idea of a long shot, and the idea of organically combining the performance part with documentary material, makes this film only relying on images to be presented with impressive power.
"Mirror", where the plot constantly shuttles between dream and reality, gives the audience a feeling of erraticness, and the floating imagery added by director Tarkovsky further strengthens this "uncertain" state. In the film, a bit of "abrupt" insertion of the Spanish family story, through the mid-air floating balloons that appeared in the following news clips, hinted that they were forced to leave their hometown and live in a homeless mentality due to the war, and similar floating or unable to land. The feeling is also hidden in the heart of the protagonist. When I was a teenager, when I looked in the mirror while waiting for my mother in the lady’s living room, I seemed to be aware of my own transformation and awakening. Such a simple and richly meaningful scene also made "I". Gained a sense of autonomy, or found a place to land. Therefore, the floating imagery that appeared after this also added a layer of "release" meaning, like the floating state of Maroussia suspended on the bed (reminded of the famous weightless moment in Tasman's "Planet Solaros"), both with Missing, and wanting to be free from the past; and the critically ill protagonist let go of the injured bird (the bird’s flight is also a kind of "floating"), and also said that "I" can finally face his fragility with a relaxed attitude The "scars" left by life and the past.
Towards the end of the film, the picture of our elderly mother smoking cigarettes on her back is reminiscent of her posture when she first appeared (also smoking behind the camera), and this is like a cycle, reflecting A film discusses the constant circulation of time. The dying protagonist, after throwing the bird up, time returned to the beautiful past. The mother Maroussia, who was pregnant for the first time, was gazing at the winding road in the distance, and on the other side of the field, following Baja’s majestic "Blanc With the sound of the Den Burg Concerto, she has become an elderly mother and leads her young children through the ruined home. The magical ending of "Mirror" is like re-editing and fusing the three sections together. The director Tarkovsky freely uses the lens to enter and exit different time and space, making them trapped in the three "rooms" of the past, present, and future. The "air flow" inside can circulate.
Tarkovsky, who likes to shoot from a relatively low angle, often points the camera at the vast ground. He borrowed from the beginning of the movie, the scene of the strange male doctor and the young "mother" falling from the railing to the ground at the same time, which clearly conveyed Out of his concern for the natural scene. Tarkovsky, who was dissatisfied with the regime at the time, even used a section of the printing house to show the Stalin government's repressive rule (the mistakes in school characters could have serious consequences in that era), but in the final analysis, Tarkovsky He still loves his motherland and this land. For example, the letter from Pushkin to Chadayev quoted in "Mirror" wrote: "No matter what you give me in the world, I don’t want to replace my country with something else, and I don’t want anything wrong. It belongs to the history of my ancestors, because it was originally a gift from God..."
Tarkovsky, who was often tossed by childhood nightmares before filming "Mirror", always believed that he had to go through a spiritual crisis before he could be cured. He wrote in "Sculpture Time": "The crisis of the soul is an inducement to seek self-discovery and regain faith. When the soul desires harmony and life is full of turmoil, this confrontation is instead a stimulus for action, and it is also The source of our pain and hope." Tarkovsky, who tried to enter the "forbidden zone", decided not to store himself anymore. Relying on his artistic touch and wrestling with the demons, he not only eliminated the troubles of his childhood memories, but also successfully relieved him. The depth and potential of one's own soul have prompted the birth of such a pure and honest movie!
View more about Mirror reviews
