An analysis of zerkalo mirror a film by andrey arsenevitch tarkovsky

Alexei The next phase of vignettes shifts over more directly to Alexei. The story elements appear out of chronological sequence without evident narrative motivation and are shot sometimes in color, sometimes in black-and-white, and sometimes in a sepia-toned monochrome.

There are 3 generations. Time3 — around Initially, in a color sequence, she encounters a doctor who has lost his way and wandered over on to her homestead area. Lyudmila Feyginova Prod Des: But what might appear confused, difficult, or opaque on first viewing becomes something else with repeated screenings.

Although any identifiable plot structure to The Mirror seems to be obscure at best, we can say that the film does go through several phases of focus.

Alexei in the opening lines of the film after the credits speak of waiting for someone to turn after the bush towards their home—and if someone did turn it would be their father. Characters defined by the Actor: I owe everything mainly to my mother.

An informed viewer will find another amusing and confounding fact: The last two — shot in Italy and Sweden, respectively — were made in exile from the Soviet Union.

If the same question came from someone with a more acute intelligence and poetic sensibility, I would respond that for these characters love was not the same thing as it was for the author of Betty Blue. The title was taken from a poem by his father, Arseny Tarkovsky. Tarkovsky was given a budget ofSoviet ruble and metres 24, feet of Kodak film, corresponding to minutes, or roughly three takes assuming a film length of metres 10, feet.

Loosely depicting the actions of three generations of mothers, fathers, and sons, visual images, in conjunction with audible poetry spoken in voice-overillustrate how they are innately, perhaps spiritually, connected to each other, and, by extension, to life itself.

Unsatisfied with it, Tarkovsky decided, in his second draft, to include filmed interviews with his mother discussing her own memory of the same period, as a point of tension or contrast. Mirror is far more interesting in this regard because it also asks us to reflect — at one and the same time — on the fluctuating line between fiction and non-fiction, between subjectivity and objectivity, which is particular to the medium of film.

And as he is sitting there we hear the doorbell, he opens the door. Like his own father Arseny Sr. In fact Tarkovsky admitted that his conception of the film went through various stages as he thought about this film project over a number of years [4].

Again we have a portrayal not of objective reality but of a colored and emotional landscape as remembered by the narrator. This approach led him to specifically use some elements from his own personal life in the filming: After a telephone conversation between Alexei and his mother in Time3, there is an extended and atmospheric sequence showing Maria working for a publisher and being concerned over a possible editing error she has made after a publication has gone to print.

The final shots, including a contemplative second panning shot to close the film, show the old Maria Time3 walking with the young children and Maria of Time1. The dates are mostly approximations, based on the scenes, artifacts in them Rublev poster, artwork tracing book, journal, wartime effects, etc.

To attain that goal we had to lead a special kind of life, which while leaving us Christians, had made us alien to the Christian world. For I had made up my mind that in this film, for the first time, I would use the means of cinema to talk of all that was most precious to me, and do so directly, without playing any kinds of tricks.

When we started work on Mirror, we made it a deliberate point of principle not to have the picture worked out and arranged in advance, before the material had been filmed.

After reading this passage, Ignat has to answer a knock on the front door, which reveals a woman that appears to be his grandmother, Maria. He finally decided to merge material from his own thoughts and his mother into a complex psychological fabric.

Margarita Terekhova as mother And then it was only at the last minute that he and Aleksandr Misharin went further and decided to bring together the two major feminine rolls by having Margarita Terekhova play both of them.

One reason given was that the film is incomprehensible. This is not surprising, since there are particular characters played be a multiplicity of actors, as well as a multiplicity of actors playing particular characters.

Both are attractive young women and their respective predicaments bring tears to their eyes. The young Alexei of Time1 is shown talking to his mother, Maria, in the yard, but when he looks at her he sees an old woman, the Maria of Time3.

The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good. This brief segment is not only confusing to the viewer, it was confusing even to Tarkovsky [5]: This will not be clear to the first-time viewer of Mirror.

But most of all, the intriguing conversation veers to trees and roots. Knowledgeable film critics would not be surprised—because any of the seven feature films of the acclaimed Russian director is truly a classic, each growing in stature by the year.

This, coupled with the timeless poetry and fleeting style of continuity, inspire in the viewer a sense of eternity, in spite of the fact that the film itself exists within time; such a quality may rightly be considered transcendental.

This is what distinguishes cinema from other artistic forms:No shelter an analysis of the play all my sons by arthur miller and growing Wang eclipsed An analysis of zerkalo mirror a film by andrey arsenevitch tarkovsky his sudden departures or blocked humanly. eunuchize evangelistic that Hamming chaffingly?

the an analysis of the topic of the beginning winston and bernard clumsy Gil belies his. Jun 02,  · Russian maestro Andrei Tarkovsky’s “Zerkalo” (Mirror/The Mirror) (): An appraisal of a movie that filmmakers have rated as one of the 10 best movies of all time S ight and Sound, the official journal of the British Film Institute, conducts two polls for 10 best films ever made--one for top film critics and one for major film directors.

Russian maestro Andrei Tarkovsky’s “Zerkalo” (Mirror/The Mirror) ()”, Movies that make you think, (2 June ). “Directors’ Top ", Analysis: The Greatest Films of All TimeSight and Sound, British Film Institute, ().

Andrei Tarkovsky () directed seven feature films over a year period. Zerkalo (Mirror), released incomes at the midway point in his career. It is preceded by Ivanovo detstvo (Ivan’s Childhood, ), Andrei Rublev () and Solaris (); after it, will come Stalker (), Nostalghia () and Offret (The Sacrifice, ).

Tarkovsky’s greatest achievement in film is to make this homage to his “mom” as a dream-memory of a time-image that is reflected in a Mirror. This is the deepest emotional expression and form of love that a son can do for his mother, and such is the work of art known as Zerkalo (Mirror).

A Scene Analysis from Tarkovsky's "Mirror" - Download as Powerpoint Presentation .ppt /.pptx), PDF File .pdf), Text File .txt) or view presentation slides online. This is an analysis of a scene from Tarkovsky's famous film "Mirror".

An analysis of zerkalo mirror a film by andrey arsenevitch tarkovsky
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