Mirror: Reflecting on Identity and Mortality

The Search for Russian Identity

There has never been a people whose creative minds are so deeply engaged in the search for their self and ultimate fate as the Russian people. Born in Latvia, the intellectual Isaiah Berlin attributes this tendency to Pyotr Chaadayev, a mainstay of nineteenth-century Moscow salons and a dissident who, upon upsetting the tsar by criticizing imperial Russia as a cultural wasteland that produced no value for the world, was declared mad and placed under house arrest. The crucial query was hanging there: With its Orthodox churches, did Russia represent a unique civilization with its exalted spiritual purpose, or was it a marginalized and condemned state destined to a state of savagery inside the larger Christian Europe? A heated discussion between the proponents of Westernization and the Slavophiles broke out. Even by the 1970s, within the suffocating embrace of the Soviet Union, acclaimed director Andrei Tarkovsky remained frustrated by the elusive nature of artistic freedom in Russia. Reflecting the duality expressed in Pushkin’s letter, Mirror delves into the intricate feelings of both alienation and deep connection that can coexist within a Russian soul; in his work, Pushkin elevates Russia’s position within Western civilization, arguing that its historical absorption of Mongol influence, as depicted in Tarkovsky’s Andrei Rublev, was vital for its preservation.

Plunging into the depths of memory and introspection, Mirror (the fourth of Tarkovsky’s mere seven films) is a hypnotic odyssey defying straightforward interpretation. In the film’s first scene, a child on TV receives hypnotherapy for his stutter; the air, thick with unspoken tension, cracks open as the child’s voice erupts. Once hesitant and clipped, words flow like a rushing stream, now shattering the spell of quietude. In true Tarkovskian fashion, these enigmatic interludes, devoid of exposition, plunge us into ambiguous situations that refuse easy answers. Conviction in a universe alive with unseen forces, Tarkovsky disdained simplification, especially when facing unimaginative bureaucrats seeking to mold his scripts. Stitched together from the tapestry of Tarkovsky’s memories, the film unfolds in a non-linear dance of sights and sounds, a kaleidoscope of emotions echoing through time. Time loses its strict chronology in this cinematic symphony. Childhood whispers brush against present anxieties, forming a poignant counterpoint. Memories emerge like notes on a piano, each resonating with a fragment of a life lived, shaping the film’s unique, dreamlike logic. The central idea of this film work is the overriding consciousness of Alexei, a middle-aged poet who is near death and represents the director’s alter ego. Innokenti Smoktunovsky gives a moving performance as Alexei.

Mirror‘s introspective and spiritual poetry, a symphony of personal intimacy, proved jarringly discordant with the state’s rigid mandates for clear-cut narratives celebrating socialist ideals. As a result, the film was subject to limitations, which made its premiere exclusively available to a relatively small number of people in the Soviet Union. While the state craved a steady stream of clear-cut films reinforcing its ideology, complex works like the film remained scarce, their limited availability a silent rebellion against the monotonous propaganda machine. Tarkovsky insisted that there was no intentional symbolism behind the beautiful visuals he used in his films. Instead of seeking answers in the boundless cosmos, he found them in the little things. For him, the universe, with its infinite intricacies, echoed within the droplet’s shimmering depths. Rather than slapping clear symbols onto his films like pre-cut stickers, Tarkovsky sought a deeper resonance. He believed the camera, like a sponge, could soak up the raw essence of life, where every image pulsed with unspoken truths.

Paradox of Poetic Realism

Delving into Tarkovsky’s films reveals a fascinating paradox: a world teeming with evocative imagery yet often described as rejecting overt symbolism. Let’s unpack this seeming contradiction and explore the nuance of how he imbued visuals with meaning beyond the label. Some viewpoints assert that his films are distinguished by a purposeful focus on realism, nuanced metaphor, and lyrical imagery—providing viewers with a means of delving deeply into interpretation and critical investigation. Simultaneously, another perspective maintains that Tarkovsky’s purposeful absence of overt symbolism is an appeal for viewers to participate in creating meaning—encouraging a more limitless and personal interaction with the film story. In addition, Tarkovsky’s painstaking attention to language (evident in his long takes, symbolic landscapes, and enveloping soundscapes) invites audiences to explore the nuances of these particular approaches. It makes for a richer and more interpretive experience. Finally, Tarkovsky challenges audiences to consider subtle components and inherent ambiguity established in his films by purposefully rejecting overt symbolism. Through his deliberate artistry, the director crafts a cinematic cavern, pulling viewers into a profound and thought-provoking abyss where meaning shimmers just beyond grasp.

His dedication transcended mere craft, driven by a potent cocktail of primal fascinations and the abiding faith of his ancestors. Like the holy icons of his spiritual tradition, his films became vessels of devotion, imbued with a transcendent purpose. For Tarkovsky, the material world sang a cosmic symphony, each star, planet, and grain of sand vibrating with a fundamental spiritual essence woven into a harmonious whole. Threads of Eastern wisdom, woven from the delicate verses of Matsuo Bashō, intertwined with the rich tapestry of his Orthodox upbringing, shaping a philosophy that transcended borders and embraced the profound within the ordinary. Art, at its most sublime, lays bare the canvas of our being. It whispers of our fleeting moments, our shared sorrows and joys, urging us to gaze upon them, to ask the silent questions of existence and discover the contours of our souls. It invites one to go beyond the limitations of mortality and presents the prospect of a spiritual journey that is especially meaningful to people who are aimless and looking for direction in their lives. The claim that artistic expressions offer “nothing less than a transcendence of mortality” captures the transformational potential of art, which transcends the temporal confines of human existence.

Immersed in Intertwined Worlds

In Mirror, memory and dream, art and reality, cosmos and mind weave a vibrant tapestry, their threads inextricably intertwined, defying the neatness of categories and inviting immersive exploration. The idea that various worlds coexist with equal vividness is embraced throughout the film, obfuscating boundaries and allowing the audience to journey across the complex, interwoven landscapes of human experience. His visual language isn’t a mosaic of fixed symbols but a kaleidoscope of nuance. He shuns easy labels, preferring the richness of implicit meaning, cultural allusions, and deeply personal echoes. In his hands, symbolism becomes a mirror reflecting the subjectivity of his artistic vision.

Although Tarkovsky publicly denied that his films used manufactured symbolism, there is a strong argument among critics and academics that his films include implicit or indirect meaning. Like hidden threads woven into the film’s fabric, the filmmaker’s personal and cultural symbols subtly reveal glimpses of their life and heritage. These reflected indicators peek through every scene, whispering stories of experience and background. Tarkovsky’s films hold hidden depths, where symbols whisper rather than shout. Unbound by the chains of definition, they weave intricate layers of meaning into the narrative, inviting viewers to dive down and discover their interpretations. Tarkovsky’s rejection of manufactured symbolism is consistent with a general call for audiences to interact with the interaction elements free from predetermined and preconceived symbols. Tarkovsky crafts a cinematic labyrinth where viewers become active explorers by shunning the easy labels of pre-fabricated symbols. Every frame whispers hidden connections, and every image invites a deeper dialogue between narrative and visuals, urging us to forge our path through the intricate tapestry of meaning.

Beyond the Narrative Surface

Beyond the surface of his narratives, Tarkovsky subtly weaves hints of the transcendental and the spiritual. Like the haunting melody of a mermaid’s song, these echoes dwell beneath the surface, their whispers luring with enigmatic promise. Their meaning shimmers like elusive pearls, refusing to be captured in the nets of easy categorization. Yet, they possess a potent symbolic charge in their resonance. Tarkovsky’s films dive beyond the shallows of the plot, seeking pearls of universal truth through representational depths. The characters and stories become prisms, refracting profound existential questions and illuminating human experiences shared across all cultures and times. Through metaphors and evocative imagery, Tarkovsky’s film universe possesses metaphysical dimensions that viewers explore and draw their unique meanings. The intentional use of metaphor and beautiful imagery adds even more layers of subtle meaning to his works. With these creative techniques, Tarkovsky weaves a complex web of thematic and visual elements that defies interpretation, allowing audiences to piece together their meanings and have introspective conversations with the evocative metaphors and images that permeate his films.

Mirror skillfully combines a variety of components to create an immersive experience. It combines archival video in black and white with dreamy slow-motion scenes, poignant memories, and even the painstaking recreation or replication of early modern European art. The film’s dedication to capturing the complexities of human cognition, where the lines separating truth from artistic expression are pliable and flexible, is demonstrated by this creative fusion. Alexei’s anecdotal memory of a snowy day during the war of this blending of visual and narrative elements. This memory creates an image that evokes the arrangement of Pieter Brueghel’s The Hunters in the Snow. Remarkably, Solaris prominently features the same artwork, packed with its harmonic panorama of winter activity. Amidst the spectral hauntings and sentient landscapes of the film, Brughel’s art isn’t mere decoration; it’s a portal to the surreal. His canvases echo the film’s uncanny atmosphere, blurring the lines between reality and illusion, past and present. Through the camera’s exquisite eye, the filmmaker weaves a tapestry of longing for belonging. From swaying leaves to sun-kissed earth, every delicate detail whispers our deep-seated need for a place within the natural embrace.

In Mirror, Tarkovsky incorporates a tapestry of opposing viewpoints, where masculinity and femininity occupy distinct corners of the canvas. He invites us to contemplate the complexities of both, revealing their strengths, vulnerabilities, and the unique ways they navigate the world. The film sets up a captivating dance of polarities. Behind the scenes, the male poet wields the brush of a creator, shaping narratives and dictating fate. Yet, the feminine essence remains an enigma, silent and potent, residing in the realm of the embodied and unspoken. The picture skillfully negotiates the complex levels of artistic representation, combining visual cues that highlight the mysterious quality of the feminine presence. An illustrative instance of this exploration involves depicting an impenetrable and impassive female countenance, emerging from a renowned Renaissance masterpiece within the movie—an impactful portrayal of Ginevra de’ Benci by Leonardo da Vinci. This visual experience is a discovery within the pages of a book of art rather than a literal replication, adding levels of artistic allusion and cultural relevance to the film.

Maria’s Tapestry: Strength, Resilience, and Vulnerability

Through the poignant lens of Margarita Terekhova’s Maria, viewers witness the multifaceted impact of Stalinist oppression on women. Her layered performance reflects the intricate tapestry of strength, resilience, and vulnerability woven into the female experience under a totalitarian regime. Submerged in the everyday routine and psychological conflict of the time, Maria’s persona battles with societal norms and critical assessments. She returns to her job at the printing press through the rain after an incident that she believes was caused by a text error. When she thought she was on solid ground, a female colleague delivered a blow. “Self-absorbed,” she spat, the accusation barbed with the weight of societal expectations. Memories intermingled with the environments of obsessive revisitation take on an otherworldly aspect, bearing characteristics akin to both a haunting and a revived ruin. Tarkovsky adopted a unique strategy to capture the spirit of his early years in his attempt: he oversaw the reconstruction of the wooden cottage in Yuryevets, where he had spent a large amount of his childhood. His memories, etched into the weathered pillars, became the seeds of a meticulous rebirth. He breathed life back into forgotten corners, transforming the silent witnesses of his past into the columns of a reconstructed world.

The meticulous restoration labor spilled beyond the home’s embrace, reclaiming the neighboring field. Buckwheat rows of brushstrokes of white recreated the delicate tapestry of his memory, forever etched in the canvas of his past. Obsessed with authenticity, Tarkovsky and his crew became silent observers, studying the house in every fold of daylight and weather’s whimsy. Their gaze sought to capture just bricks and mortar and the subtle whispers of time etched upon its recreated shell. Through this immersive portal, they delved deeper into the ocean of Tarkovsky’s recollection, glimpsing subtle shifts in tone like ripples on the surface. This intimate exploration forged a bridge between his memories and their visual tapestry. “Everything that torments me, everything I don’t have and that I long for, that makes me angry, sick, or suffocates me, everything that gives me a feeling of light or warmth, and by which I live, and everything that destroys me—it’s all there in your film,” a Novosibirsk worker who was affected profoundly by the film said after it was released. Among many other letters quoted by Tarkovsky in his 1986 book Sculpting in Time, this one is a painful representation of the viewer’s emotional connection and demonstrates highly personal and his vision universal nature.

Tarkovsky’s Labyrinth: Beauty and Brilliance, Challenge and Enigmas

Because of their subjectivity, which may limit accessibility, Tarkovsky’s endeavors—distinguished by a complex investigation of personal recollections and experiences—have not been immune to critical scrutiny. Prominent subjectivity, purposeful pacing, vague and abstract storylines, intricate vocabulary, and an emphasis on cultural and historical specificity are just a few of the aspects that are subject to these criticisms. These qualities, however, add to Tarkovsky’s vision and could be problematic for viewers who struggle to connect with such complex aspects, which could lead to differing views about how intellectually accessible they are. The intentional subjectivity that Tarkovsky incorporated into his films, in addition to the thoughtful pacing and extensive running times that the director utilized, could provide challenges for viewers used to the fast-paced narratives of traditional storytelling. In addition to his intricate compositions and visual metaphors create obstacles for people who are unfamiliar with his unique aesthetic, emphasizing the impression that his works are difficult to access, Tarkovsky’s use of unclear and abstract narratives.

The oeuvre of Tarkovsky often explores themes of spirituality and transcendence, which may seem overly cerebral or arcane to audiences. This perceived complexity results from several interrelated factors, such as the thematic content’s intellectual demands, the use of symbolic language, the cultural and religious context that specifically informs the narratives, the subjectivity of personal interpretation, and the immersive aesthetic and experience that the filmmaker has skillfully created. Tarkovsky’s investigation of deep spiritual topics presents an intellectual challenge, and his purposeful use of symbolic language adds to the environment, which demands an enhanced level of audience participation. His storytelling incorporates cultural and theological context, which contributes to their complexity and may make the ideas less immediately understandable to audiences who lack a deep awareness of these situations. Furthermore, different viewpoints may arise from the subjective character of individual interpretation within the framework, enhancing transcendent and spiritual elements’ perceived abstraction in Tarkovsky’s films.

Twilight Act of Resistance

Facing the twilight of his creative journey, Tarkovsky embarked on a final act of resistance, a book to illuminate his vision for the public. In this defiant gesture, he laid bare the scars of a life spent navigating the treacherous waters of state deception, its shadow forever shaping the lens through which he viewed the world and art. Despite crafting worlds spun from illusion, Tarkovsky found himself entangled in the web of explanation. The state, suspicious of his enigmatic films, accused him of elitism and public peril. Undeterred, he wielded his words as a brush, painting a counter-narrative that defied their restrictive claims. Tarkovsky went to great lengths to recapture the spirit of his works, as evidenced by this attempt to explain his artistic philosophy. Explanations proved futile when it came to the essence of his art. At the core of Tarkovsky’s defense lay a radical claim: his films, woven from dreams and emotions, bypassed the confines of language. He insisted that the power of his films came from their capacity to speak to everyone, regardless of snobbery. The deluge of letters that washed over Tarkovsky wasn’t mere fan mail. It was a chorus of confessions. These candid glimpses into strangers’ souls were his most treasured reward. These warm letters, which confirmed a deep resonance between his works and the human condition, gave him comfort and inspiration, carrying him through a career limited by restrictive circumstances.

Tarkovsky made a conscious decision to reject artificial symbolism in his films to establish a deeper relationship between the visual components of his works and the underlying truths woven throughout the fabric of life. His main goal was to capture the genuineness of reality and human experience; he avoided contrived symbolism in favor of a more direct and unmediated relationship between the viewers and the visual elements of his film stories. Tarkovsky accepted the poetic qualities of film in his search for a true expression, using pictures as subtle symbols to convey feelings and concepts without overt symbolism. He avoided overt symbolism in favor of subtle analogies and quiet moments that permitted audiences to analyze and connect with the narrative on a personal and introspective level. This technique allowed for a deeper and more meditative connection with the themes of his films.

Despite Tarkovsky’s conscious rejection, understanding his films becomes a complex process molded by interrelated circumstances. The most important of them is that interpretation is by its very nature subjective, with each spectator contributing their viewpoint, background, and experiences to the landscape. Tarkovsky’s work is intentionally open-ended and avoids blatant symbolism, which allows viewers a wide range of interpretation options and contributes to its subjectivity. The complicated interaction between narrative depth and ambiguity, which characterizes Tarkovsky’s storytelling, adds to the interpretation’s intricacy. His films, well-known for their abundance of imagery and visual metaphor, invite spectators to explore the complex web of ideas woven into each frame. Like sunlight refracting through a stained-glass window, the story’s themes and patterns dance in a kaleidoscope of interpretations. The cultural and historical tapestry woven into the narrative casts a colored lens upon their meaning, inviting viewers to engage in a nuanced dance of understanding.

Kaleidoscope of Interpretations

What fuels the interpretive feast of Tarkovsky’s films? Personal beliefs! Like stained glass filters, they cast unique hues on his themes, creating a kaleidoscope of meanings as diverse as the viewers themselves. People’s distinct cultural, philosophical, and ideological viewpoints can influence the experience and changes in the narrative’s relevance and resonance. The canvas Tarkovsky paints may be intricate, but the artistry truly unfolds in the minds of his audience. His purposeful ambiguity invites a personal symphony of interpretation, where individual beliefs and perspectives orchestrate a chorus of meanings as diverse as the hearts that experience them. Because of their varied viewpoints, life experiences, and cultural upbringings, viewers may interpret the films in ways that add to the depth of the conversation surrounding Tarkovsky’s films.

For Tarkovsky, the film wasn’t a sprint. It was a slow, mindful walk. His extended takes and fragmented narratives weren’t merely stylistic choices; they were philosophical brushstrokes, stretching and swirling time to mirror the deliberate pace and unexpected turns of existence. He aimed to highlight the fluidity and fleeting nature of existence by upending traditional storytelling norms, which would challenge spectators to face time’s impermanence and interact more fully with the story as it developed. In observations written down in his notebook, Tarkovsky stated that Mirror was proof positive of the “importance of personally experienced emotion” and the “indispensable role of the author’s intimate truth” in making films that audiences could relate to on an authentic level. The concept for the film originated as early as 1964 and developed under several names over time. In tandem with Alexander Misharin, Tarkovsky meticulously birthed his vision onto paper. Two documents blossomed under their pens: A White, White Day, a literary script brimming with cinematic poetry, and Confession, a proposal outlining the project’s essence. In 1968, both documents embarked on their journey through the channels of state production, ready to face scrutiny and, hopefully, approval. Unfortunately, Tarkovsky had to significantly reword the material to overcome bureaucratic obstacles to obtain the necessary approval to start filming.

Tarkovsky’s Introspective Voyage

Tarkovsky, known for his previous science-fiction adaptations that dabbled in the examination of the inner mind against the background of Soviet themes, had a difficult time even getting these projects approved. Though his films sailed under the familiar banner of Soviet adventure, Tarkovsky’s true voyage was into the turbulent waters of the psyche. This exploration of inner space, veiled as sci-fi and coming-of-age stories, proved a tumultuous journey, sparking dissent despite its seemingly safe harbor. His quest for funding hit a wall when he dared to turn the lens inwards, his life the raw material. This introspective project, deemed by the authorities as narcissistic and self-absorbed, faced even harsher scrutiny despite weaving in elements of national pride like wartime sacrifice. Though his vision of featuring his mother’s voice faded directly, Tarkovsky’s commitment to weaving threads of family history through his narrative remained steadfast. Though silent on screen, the maternal echoes resonated powerfully within the tapestry of his story. It was a conscious decision to cast the same performers in different eras; Terekhova played Alexei’s mother and wife, and Ignat Daniltsev played Alexei as a teenager and as Ignat, Alexei’s son. This casting technique helped to create a seamless psychic inheritance of history that flowed from ancestor to descendant, as well as a fluid feeling of reflected emotional experience.

The newsreel material used in Mirror purposefully and explicitly links Alexei’s personal life to the fate of the Russian people. Fragments of the past emerge, spanning major historical events like the Sino-Soviet border dispute and the nuclear anxieties of the sixties to the Spanish Civil War in the 1930s, where the Soviet Union actively supported the Republican cause and provided asylum to individuals afflicted. These glimpses highlight moments when the country actively influenced the balance of power in Europe by repelling intrusions against its identity. This historical narrative implies Russia’s view of itself as a historical martyr, inextricably linked to times when it chose its destiny and persevered in the face of hardship. The film’s central scene is a moving archive clip that shows Red Army soldiers trying to repel Nazi forces from Crimea in 1943 while wading through the dirt and waves of Lake Syvash. Filmed by a dedicated Soviet cinematographer whose life tragically ended on the same day, this poignant record showcases the immense sacrifices made by the Russian people. The film features a stunning scene where the director’s father, Arseny Tarkovsky, speaks, intoning, “There is no death on this earth. Everybody is eternal. Everything is everlasting.” This unsettling contrast serves as a sobering reflection on the significant ramifications of collective duty rather than as propaganda bluster or an expression of patriotism. The film grapples with a preordained calling, a powerful force like a tidal wave that both elevates and crushes individuals yet grants them a sense of belonging within the vast ocean of history.

Bibliography

Calxylian

Mirror: Reflecting on Identity and Mortality