Zerkalo (1975)

Director:

Andrei Tarkovsky

Writers:

Aleksandr Misharin (writer)
Andrei Tarkovsky (writer)

Release Date:

April 1975 (Soviet Union)

Genre:

Biography | Drama | History | War

Plot:

A man in his forties is going to die and remembers his past. His childhood, his mother, the war, personal moments but things that also tell the story of all the Russian nation...

Plot Keywords:

Childhood | Divorce | Russian History | Flashback | Poetry

Cast

Margarita Terekhova	...	Natalya / Maroussia - the Mother
Oleg Yankovskiy	...	The Father
Filipp Yankovsky	...	Aleksei - 5-years-old
Ignat Daniltsev	...	Ignat / Aleksei - 12-year-old
Nikolai Grinko	...	Printery Director
Alla Demidova	...	Lisa
Yuriy Nazarov	...	Military trainer
Anatoli Solonitsyn	...	Forensic doctor
Larisa Tarkovskaya	...	Nadezha - Mother of 12-y-o Alexei
Tamara Ogorodnikova	...	Nanny / Neighbour / Strange woman at the tea table
Yuri Sventisov	...	Yuri Zhary
Tamara Reshetnikova
Innokenti Smoktunovsky	...	Aleksei (voice)
Arseni Tarkovsky	...	Father (voice)
E. Del Bosque	...	A Spaniard

Also Known As:

Зеркало (Soviet Union: Russian title)
Sarke (Soviet Union: Georgian title)
The Mirror (USA)
White, White Day (English translation of working title)

Runtime:

108 min

Country:

Soviet Union

Language:

Russian | Spanish

Color:

Black and White | Color

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Iceland:L | Canada:G (Ontario) | Australia:M | Singapore:PG | Argentina:13 | Finland:K-12 | West Germany:12 | UK:U | Hong Kong:I

Company:

Mosfilm Unit 4

Trivia:

To create the effect of the wind making waves through the crops in the field outside the cabin in the woods, Tarkovsky had two helicopters landed behind the camera and would switch on the rotors when he wanted the wind to start.

Goofs:

Incorrectly regarded as goofs: In the first scene, in which stutterer Yuri Zhary is being hypnotized, a shadow of the boom mic is prominently visible on the wall behind him. However, because this is clearly supposed to be a recreation of a TV broadcast, it appears to be a intentional error.

Quotes:

Father: It seems to make me return to the place, poignantly dear to my heart, where my grandfathers house used to be in which i was born 40 years ago right on the dinner table. Each time i try to enter it, something prevents me from doing that. I see this dream again and again...

Movie Connections:

Featured in Kino pro kino (2002)

Soundtrack:

Matthäuspassion - BWV 244

Reflections Reflections Reflections

Spoilers herein.

Many films allow one immediate response; you know while watching how effective it is and at the end are geared for talking or writing about what you have just seen.

Others, you need to spend time with. This -- I am guessing here -- is because the truly great so lead our imagination that we need to heal or grow after the experience and only then assess what has happened. Surely when you are in this film, you know something special is going on: there are some true transcendences of the eye; very dimensional, surprising. Just as you have established the field of vision and registered the one thing you expect to see, the camera moves in an unexpected manner to reveal either a completely extra or contradictory reality.

Those moments thrill, but confuse at the same time because in lesser hands, this would be an excuse for noodling about with the 'story' in a superficially artsy-fartsy manner. Only after some time can you evaluate how effectively this might have slipped between the sheets of your minds. It is a matter of some interest to me how this happens when it does. Is it a matter of the artist knowing us better than we do ourselves and slipping into our dreams unawares? Or is a matter of creating an attractive castle that we are drawn to and inhabit?

Generally, when an artist is called 'personal,' it is thought to be the latter. But in this case, I think most of what he has done is find that universal manner of overlapping and merging that underlies the visual memory of us all. What confuses is the Soviet environment: the intensely uncoordinated industrial environment and the once fine but now dilapidated urban residences. They transport us to a different place: the unfamiliar described in a familiar way.

Surely this is not what he intended: he didn't make this for a comfortable American/European. And if not made just for himself it was for people who shared the same world. So at least as far as the content, we are attracted to an unfamiliar castle. But so far as the 'personal' form, I think he has found something strangely cosmic. This may be the best film (with Rublev) of one of the three most important filmmakers in history.

Ted's Evaluation -- 4 of 4: Every visually literate person should experience this.