arseny tarkovsky poems in mirror

As an evocation of childhood, the yearning, mystery and pain of it, The Mirror is unsurpassed in cinema. [24], Mirror is now frequently listed among the greatest films of all time. 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). The title was taken from a 1942 poem by his father, Arseny Tarkovsky. This is followed by news-reel scenes from the Spanish Civil War and of a balloon ascent in the U.S.S.R. Arseny Tarkovsky. Timo Hoyer: Filmarbeit – Traumarbeit. The Mirror (Zerkalo or The Bright, Bright Day) is a poem. Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria. communication. The structure of the film is discontinuous and nonchronological, without a conventional plot, and combines incidents, dreams and memories along with some news-reel footage. Oliver Assays reckoned (in 1997) that the post-credits sequence is “one of the most beautiful things I had ever seen in the movies”. As if by a miracle, Misharin remembered, both he and Tarkovsky had seized the scenes at the same time and shuffled them into the same order. Tarkovsky died in 1989, just prior to the fall of the Soviet Union. Arseny Tarkovsky (1907-1989) is one of the great twentieth century. Here summer is over..., by Tatiana Kocherova Here summer is over / As if it never happened. The main reason was most likely the complex and unconventional nature of the script. [12] Mirror thus forms the third part, together with Tarkovsky's previous film Solaris which was made in 1972 and which references Andrei Rublev by having an icon made by him being placed in the main character's room,[13] in a series of three films by Tarkovsky referencing Andrei Rublev. More Poetry from Arseny Tarkovsky: Arseny Tarkovsky Poems based on Topics: Birds, World, Fate & Destiny, Curiosity, Time, Speech, Leading & Managing, Kings & Queens. In 2012, Will Self argued that it remains 'the most beautiful film ever made'. Redemption is a bit flat, it smacks of Vera Panova. arseny tarkovsky poems in the mirror; Arseny Alexandrovich Tarkovsky (Russian: Арсений Александрович Тарковский, June 25 [O.S. Arseny Alexandrovich Tarkovsky (Russian: Арсений Александрович Тарковский, June 25 [O.S. The mother and the boy of the past also dwell in the present. The film combines contemporary scenes with childhood memories, dreams, and newsreel footage. 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). The Bright, Bright Day screenplay had opened with a scene in a cemetery, and a funeral. It is a movie of fierce self-reflexive intensity – something like Rimbaud in his poem of childhood ‘Les poètes de sept ans’. The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. Pocket Guide, published by Crescent Moon Publishing in 2011. In 1968, after having finished Andrei Rublev, Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror together with Aleksandr Misharin. PROBE CD32; CD). But his diary entries show that he was still eager to make the film. Richard McKane (trans.) 19. Misharin said people reckoned they knew which were the scenes Tarkovsky had written and which were his, but often the opposite was the case. Only while filming Tarkovsky decided to finally title the film Mirror. June 12] 1907, Elisavetgrad – May 27, 1989, Moscow) was a prominent Russian poet and translator. 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. 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). 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. 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. Tarkovsky acknowledged that The Mirror was the most complex of his films structurally and dramatically. After the opening titles roll, a scene is set in the countryside during prewar times in which Alexei's mother Maria (Margarita Terekhova) — also called Masha and Marusya — talks with a doctor (Anatoly Solonitsyn) who chances to be passing by. Tarkovsky himself recounts in. [23], Mirror has an approval rating of 100% on review aggregator website Rotten Tomatoes, based on 17 reviews, and an average rating of 9.21/10. Les yeux qui voient un film ne sont pas les mêmes que ceux qui parcourent distraitement un poème ; ils sont plus attentifs, plus éveillés, plus sensibles. Arseny Tarkovsky (1907–1989) is one of the great Russian poets of the twentieth century. Curiously, Arseny’s first published collection came out in 1962, when the poet was 55 years old; and his son Andrei made him famous by quoting his poems in his films Mirror (1974) and Stalker (1979). How is it that you have such amazingly subtle understanding of all the confusion, complexity and splendour of life?”. 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”. Vandaag, heel wat jaren later, heeft een Amerikaanse cineast, Gus Van Sant, weten te begrijpen dat een beheerst en systematisch soepel gebruik van de Steadicam de basis zou kunnen vormen voor een volkomen nieuwe analytiek van alledaags geweld. Un abîme existe entre un poème de Salvador Dalí et une peinture de Salvador Dalí ; quand il peint, Dalí a toujours raison. The narrator in The Mirror is strictly a narrator, in the technical, literary sense of the term. Misharin recalled that he and Tarkovsky only fell out seriously once or twice. (Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova.). And none of the characters in The Mirror refer to the footage, or even to the events depicted in the newsreels. The exterior and interior of Alexei's grandfather's country house are seen. This is the key to understanding the movie. 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”). Tarkovsky has described the dramaturgy of Mirror as following “the associative laws of music and poetry” (6), laws that are – at the same time – transformed through their contact with the medium of film. He survived the entire Soviet era—suffering a leg amputation during World War II—by his work as a translator of poetry. As Tarkovsky put it himself, he started writing poetry “from the potty”. Yet The Mirror never slips into easy sentimentality (although it does come close once or twice). 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). Released in 1991 on Probe Plus (catalog no. It never becomes complacent or banal. It is marvellously self-reflexive, yet avoids all the traps of inwardly-looking art. The remarkable footage of the Soviet balloonists, for example, or the moving images of soldiers trudging doggedly through mud and water do not require the viewer to know all the details. Images from Zerkalo [The Mirror] (Andrei Tarkovsky, 1975). 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. This must be the ordinary story of a life, with its hopes, its faith, its grief and its joys”. A book of poetry by Russian poet Arseny Tarkovsky, translated by Virginia Rounding. 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. Among the thousands of mainstream (Hollywood) movies that try to depict children and childhood, very few come close to the luminous authenticity of The Mirror. 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. This resulted in a very limited distribution. There is a historical, social and personal continuity. Life, Life: Selected Poems (Crescent Moon Press, 2007); Philip Metres and Dimitri Psurtsev (trans.) The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence. Although it contained popular themes – for example, a heroic mother, the war, and patriotism – the proposal was turned down. This is the key to understanding the movie. A movie of acutely remembered places. Arseny Alexandrovich Tarkovsky was born in the Ukrainian city of Elisavetgrad (now Kirovohrad) in 1907 and moved to Moscow in 1923, working as a newspaper journalist and publishing his first poems. Finally, the script was approved by the new head of Goskino, Filipp Ermash in the summer of 1973. After that, the post-production of The Mirror continued without problems. When Mosfilm critics were asked in November 1974 to evaluate Mirror, responses were divided. Arseny Aleksandrovich Tarkovsky was born on June 25, 1907 in Elisavetgrad into the family of a Narodnik (a revolutionary-minded person). [19] Some viewed it as a major work that would be better understood upon the analysis of future generations; others dismissed it as an unfocused failure and believed that even more cultured viewers would find its story opaque. (The newsreels, though, are roughly chronological). Mirror, an Album by The Revolutionary Army of the Infant Jesus. Arseny Tarkovsky . [8] The film switches among three different time-frames: prewar (1935), war-time (1940s), and postwar (1960s or '70s). 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. There are moments of forced symbolism – the narrator releasing the bird, for instance, which is intended to relate to his death. Innokenty Smoktunovsky provides voiceover and Eduard Artemyev the incidental music and sound effects. In the end Margarita Terekhova was chosen. Genres: Neofolk, Psychedelic … His renown grew with the publication of his first book in the 1950s and when his son (the filmmaker Andrei Tarkovsky) used readings of his father's poems in his films The Mirror and Stalker. [14], Principal photography began in late July 1973[15] and ended in March 1974. The movie, though, soars above pretension and artifice by the magnitude of its passion. The reunion of Alexei and his sister with their father (Oleg Yankovsky) at war's end is shown. Een gemeenschappelijke taal, maar tot een niveau van puurheid gebracht die onze westerse cinema slechts bij wijze van uitzondering heeft gekend. In addition the actor who appears in the film as Alexei’s father looks quite a bit like Arseny Tarkovsky did at the diegetic times (30-40 years prior to the filming) of his appearances in the story. Life, Life (Arseny Tarkovsky Poems) Steppe (Arseny Tarkovsky Poems) Ignatyevo Forest (Arseny Tarkovsky Poems) And this I dreamt, and this I dream (Arseny Tarkovsky Poems) Arseny Tarkovsky He survived the entire Soviet era—suffering a leg amputation during the Second World War—by his work as a translator of poetry. One scene that was in the script but that was removed during shooting was an interview with his mother. [20] Many audience members walked out of theatrical screenings, but those who approved of the work were ardent in their praise. Although his work did gain some fame in the West through his son’s films Mirror (1974) and Stalker (1979), which included quotations from a few of his poems, … Although it was officially announced for September 1975, it was shown as early as March 1975. 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). Natasha Synessios wrote that it is closer in structure to a musical piece than a narrative film, noting that Tarkovsky himself "always maintained that he used the laws of music as the film's organisational principle...emphasis placed not on the logic, but the form, of the flow of events. Als muziek een universele taal is, is de mise-en-scène dat ook: het is deze taal, en niet het Japans, die men moet leren om ‘Mizoguchi’ te begrijpen. PRICE JUST LOWERED: LOWEST PRICE AVAILABLE!!! 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. One cannot escape the influence of the past, and the same situations are re-enacted (for example, the 1930s family is broken, and the present-day husband and wife have parted). With a bibliography of both Arseny and his son Andrei Tarkovsky, and illustrations from Tarkovsky's movies. One of the fan letters (which Andrei Tarkovsky quoted in his diary) enthused about The Mirror: “it is your best film, it is a film about life, the most truthful and realistic film of life that we have ever seen. / It’s warm still where the sun falls. Memories such as the evacuation from Moscow to the countryside during the war, a withdrawn father and his own mother, who actually worked as a proof-reader at a printing press, featured prominently. 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?”. I Burned at the Feast: Selected Poems of Arseny Tarkovsky (Cleveland, Ohio: Cleveland State University Poetry Center, 2015) It is no more than a straightforward, simple story. Like the poems of Rilke, Cavafy and Rimbaud, The Mirror is a dense mesh of constellations of images and memories, a veritable mnemonic banquet. She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza (Alla Demidova), who then abruptly reduces her to tears with withering criticism. Outdoor scenes were shot in Tutshkovo near Moscow and the indoor scenes were shot at the Mosfilm studio. In February, 1973 Tarkovsky wrote: “I don’t like The Bright Day as a title. Tarkovsky wanted to use a hidden camera to interview her on the pretext that it was research for the film. “The function of the image, as Gogol said, is to express life itself, not ideas or arguments about life. The film opens with Alexei's adolescent son Ignat (also played by Ignat Daniltsev) switching on a television and watching the examination of a stammerer by a physician who finally manages to make her patient say without disruptions: "I can talk". There are no captions and no voiceovers identifying the many images and historical events. Tarkovsky was infuriated about this rejection and even toyed with the idea of going abroad and making a film outside the Soviet Union. His son Andrei Tarkovsky’s films gave his verse a second life. FROM THE INTRODUCTION: Arseny Aleksandrovich Tarkovsky was was born in June 1907 in Elizavetgrad, later named Kirovograd. BY ARSENY TARKOVSKY. In the next scene, set in Alexei's apartment, Ignat meets with a strange woman (Tamara Ogorodnikova) sitting at a table. Upon hearing that Mirror would not be allowed to be shown in Cannes, he unsuccessfully threatened not to take any other Soviet film. [28][29], While highly acclaimed, Mirror continues to be viewed as enigmatic. Synessios (2001). Characters are compared to each other, while others are irreconcilably opposed. 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. Arseny Tarkovsky. [17], The completed film was initially rejected by Filipp Ermash, the head of Goskino in July 1974. It is loosely autobiographical, and combines many elements, from poetry read in voiceover by the director’s father Arseny Tarkovsky, to dream sequences, flashbacks, newsreel and mnemonics (memory devices). Ignat would thus have been introduced differently. Instead it is magnificent and profound. / But it’s not enough. 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. As Andrei Tarkovsky wrote in Sculpting in Time, “a great deal was finally thought out, formulated, built up, only in the course of shooting”). Instead, Tarkovsky relies on the viewer’s knowledge of history to fill in the gaps. Arseny Alexandrovich Tarkovsky (Russian: Арсений Александрович Тарковский, June 25 [O.S. At the same time, viewers will not need to know where and when some of the newsreels were shot. It doesn’t have to be made any more understandable. One reason given was that the film is incomprehensible. Finally, in Philip Metres and Dimitri Psurtsev’s I Burned at the Feast: Selected Poems of Arseny Tarkovsky we get a fair idea of what Tarkovsky’s work might sound like in Russian. 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”. He was born in Elisavetgrad, Ukraine. Mirror draws heavily on Tarkovsky's own childhood. It is loosely autobiographical, unconventionally structured, and incorporates poems composed and read by the director's father, Arseny Tarkovsky. The following poem, “Ignatievo Forest” was written in 1935. 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. Tarkovsky was given a budget of 622,000 Soviet ruble and 7500 metres (24,606 feet) of Kodak film, corresponding to 110 minutes, or roughly three takes assuming a film length of 3000 metres (10,000 feet). The film features a number of poems that were written, and recited on the soundtrack, by his father, Arseny Tarkovsky, who was a famous Russian poet. He feels he hasn’t loved them enough, and this idea torments him and will not let him be.”. They used to write each other rhymed letters and notes and versify. The Mirror was not only about Tarkovsky’s past and family; there was plenty of Misharin’s background in there, too. The Mirror (Russian: Зеркало, known in the UK as Mirror) is a 1975 Russian film directed by Andrei Tarkovsky.It is loosely autobiographical, blending childhood memories, newsreel footage and poems by his father Arseny Tarkovsky.The film features Margarita Terekhova, Ignat Daniltsev, Tarkovsky’s wife Larisa Tarkovskaya, Alla Demidova and Anatoli Solonitsyn and has a … 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. The Mirror is the closest thing in cinema to a poem by Rainer Maria Rilke, Arthur Rimbaud or C.P. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. [31] Howard Hampton argued that the work's central subject is "the inescapable persistence of the past. 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