Ingmar Bergman argued in his autobiography The Magic Lantern (Penguin, 1989) that Andrei Tarkovsky is the greatest film director, and said that “he moves with such naturalness in the room of dreams.”
This naturalness is the main reason I always liked The Mirror so much. And it is because of the same reason that I never understood why it is often considered to be Tarkovsky’s most ‘difficult’ film – on the contrary, I think it is the most personal and emotionally moving work by one of the greatest artists of the 20th century. The ‘mirror’ is precisely that, a reflection upon childhood and history, our personal and collective past, through the lenses of memories and dreams. The negation of the linear narrative is what allows the film to become so sweet and melancholic, and gives such an edge to Tarkovsky’s poetic cinematic vision, and such strength to his prominent visual language. Unique and ingenious – no one else could have done it.
This naturalness is the main reason I always liked The Mirror so much. And it is because of the same reason that I never understood why it is often considered to be Tarkovsky’s most ‘difficult’ film – on the contrary, I think it is the most personal and emotionally moving work by one of the greatest artists of the 20th century. The ‘mirror’ is precisely that, a reflection upon childhood and history, our personal and collective past, through the lenses of memories and dreams. The negation of the linear narrative is what allows the film to become so sweet and melancholic, and gives such an edge to Tarkovsky’s poetic cinematic vision, and such strength to his prominent visual language. Unique and ingenious – no one else could have done it.
The full film with english subtitles may be found here.
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