Product Details

• Amazon Sales Rank: #2561 in DVD
• Released on: 2002-07-29
• Rating: Universal, suitable for all
• Aspect ratio: 1.33:1
• Formats: Black & White, Colour, Full Screen, PAL
• Original language: Russian
• Subtitled in: English
• Number of discs: 1
• Running time: 102 minutes

DVD Description
DVD Specialist Features:

Interviews with composer Eduard Artemyev, scriptwriter Aleksandr Misharin, Grigory Yavlinsky
Documentaries "Memory" and on Anatloy Solinitsyn & Innokenty Smoktunovsky
Stills Gallery
Trailers

Colour and B&W
Russian with English subtitles
Picture Format: 4:3
Dolby Digital 5.1

Synopsis
With THE MIRROR, legendary Russian filmmaker Andrei Tarkovsky crafts perhaps his most profound and compelling film. What started off for Tarkovsky as a planned series of interviews with his own mother evolved into a lyrical and complex circular meditation on love, loyalty, memory, and history. Time shifts and generations merge as a single extraordinary actress (Margarita Terekhova) plays the narrator's former wife as well as his mother. Tarkovsky's memories as well as those of his mother are intermingled as a dark, sumptuous, and dreamlike pre-World War II Russia is evoked, accompanied throughout by the voice of Tarkovsky's father reading his own elegiac poetry. The spectacle of nature and its ubiquitous and ever-shifting presence is captured by Tarkovsky's camera as if by magic--the family cabin nestled deep in the verdant woods, a barn on fire in the middle of a gentle rainstorm, a gigantic wind enveloping a man as he walks through a wheat field--all creating indelible images with deep if mysterious emotional resonance. As the timeline shifts between the narrator's generation and his mother's, newsreel footage of Russian wars, triumphs, and disasters are juxtaposed with imagined scenes from the past, present, and future, crafting a silently lucid cinematic panopticon of memory, history, and nature.

From the Back Cover
'Mirror' is the celebrated Russian director Andrei Tarkovsky's most autobiographical work in which he reflects upon his own childhood and the destiny of the Russian people. The film's many layers intertwine real life and family relationships - Tarkovsky's father, the poet Arseny Tarkovsky, reads his own poems on the soundtrack and Tarkovsky's mother appears as herself - with memories of childhood, dreams and nightmares. From the opening sequence of a boy being cured of a stammer by hypnotism, to scene in a printing works which encapsulates the Stalinist era, "Mirror" has an extraordinary resonance and repays countless viewings.

Customer Reviews

Images to invoke emotion.
This is definitely one of the best films I've seen by this director, and I'd just like to highlight one aspect of Tarkovsky's technique for those reviewers who found the film enjoyable but felt that the meaning of it went straight over their heads.

Tarkovsky doesn't use symbolism. He recognises that to attach symbolic meaning to what is seen limits it to only one interpretation - a representation of what is symbolised. Real world events don't have symbolic meaning in themselves, and so Tarkovsky uses pure images which invoke emotions in the viewer, as opposed to a framework of symbols which amount to some hidden meaning behind his films.

This is what makes his films such a joy to watch, all of the beautiful cinematography is there to be appreciated in itself. There is nothing superficial about this, quite the opposite. Tarkovsky's films are accessible to everyone (maybe he was a real communist!), not just aloof art house enthusiasts.

I would also highly recommend 'Stalker' to anyone who is getting into Tarkovsky.

Have a good look ...
The Mirror is one of the most accessible Tarkovsky's films. I can recommend viewers to start with this film before progressing to other Tarkovsky's oeuvre.

Many critics consider Mirror Tarkovsky's autobiography, but it is unquestionably more than that. The film has visual beauty, social pathos, thoughts on the role of Russia in the Western civilization, existential questions and a place for magic in everyday life. I would not like to give detailed examples here: viewing will be less interesting, and part of the wonder of the film is to find these and many other clues on one's own. If the viewer goes on to other Tarkovsky's output, he will be rewarded by many shots and purvasive themes that "travel" from one film to the next and thus constitute undeniable signature of this director.

One very important point I would like to discuss is Tarkovsky's views on Russia. Perhaps, these can be the least understood by Western viewer who enjoy the film while still loosing historical and philosiphical context of Tarkovsky's thinking. Tarkovsky followed Pushkin's contention that Russia played a historical role in the destiny of Western Civilization by stopping Tatar-Mongol aggression from reaching the Western Europe. While havindg stopped the aggression, Russia was broken under its force and had to develop its own unique way of life. In Tarkovsky's opinion, this unique role did not stop with and did not depend on the communist ideology prevailing in Russia at the time. This is a clue for a documentary part in the film where Russian soldiers try to hold a crowd of Maoist Chinese from crossing the Russian border. By the way, documentaries were used by Tarkovsky not as a modernist tool, but as an opportunity to express himself where other means would be disallowed by the USSR regime (this is a response to Mr. Tashiro comment on these documentaries). For example, there is another documentary episode that serves to express a nostalgic feeling for the foreign land (Spain in that case) by Spanish communist refugees to the USSR. Feelings like that were not allowed to be publicly expressed at the time, so documentary was a special tool. Having said all this, the film transcends its own idelology (if you find this ideology unpalatable).

I have certain sympathy with those viewers who would criticise Tarkovsky for somewhat didactic quality of his art. Tarkovsky's films are pushing its spiritual content as well as his view of good and wrong on the viewer directly and without subtlety. One thing to remember though is that his films (and Mirror is no exception) are a lot greater than the sum of ideological / philosophical parts.

Have a good look then...

Perfect, except for the translation
I've watched my VHS copy of 'Mirror' around ten times and thought I 'knew' the film well enough. But the DVD is a revelation. The different film stocks and treatments -- washed-out colour, sepia, black & white, newsreel -- and Tarkovsky's pared-down images come through crisper than ever.

The sound is the real bonus, though. 'Mirror' mightn't have been recorded in 5:1 surround, but the new audio track reveals a side of the film I didn't even know existed: a deep, almost physiological soundtrack of eerie music and painstakingly placed effects that heightens the oneiric atmosphere by several notches and which was totally lost on VHS. I know there was cross-pollination of ideas between Tarkovsky and Kubrick, and aurally 'Mirror' now appears as a more subtle, subliminal version of '2001'. Unfortunately the closing (opening!) chorus from Bach's St John Passion still sounds distorted; but even that has its charm.

So I now have even greater admiration for what was already the finest film ever made about childhood and memory. Tarkovsky plays and plays on a handful of heart-stoppingly beautiful images, the sort we all have from our earliest youth -- luminous, sublime, terrifying, warming, sad -- the ones we can neither let go of nor fathom. The sense of desperately clinging to something that has lost all meaning is also brilliantly transferred into a series of acerbic, yet necessarily (for the time) oblique political comments. It is probably the most aesthetic film I have ever seen, in the sense of pure consciousness delighting in itself. (Do I pass the Tarkovsky-Fan Waffle Test?)

The only minor quibble is the new translation, which was done by a Russian, seemingly with a Russian-English dictionary. I'm sure it's faithful to the original, but it is sometimes grammatically obtuse and frequently unidiomatic. I don't know why Artificial Eye couldn't reuse the translation on the VHS version. It may be more serious a problem for those who don't already know 'Mirror', but please don't let it put you off one of the most profound artistic experiences you could have on film or elsewhere.