By Peter Green

A survey of the paintings of Andrei Tarkovsky, the Russian film-maker who lived from 1932-1986. it's a serious exam of his movies within the gentle of his personal writings and existence, his aesthetics of movie, his idea of time in cinematography and an try and understand his imaginative and prescient. the movies which are tested are: "Ivan's Childhood", "The Mirror" and "Andrei Rublyov". The booklet is to be released at the anniversary of Tarkovsky's start in April 1992.

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Movie � him : � ? � � � � I I five The reflect [Zerkalo] One new release passeth away, and one other iteration cometh: however the earth abideth for ever. Ecclesiastes 1 : four Tarkovsky's exploration of the subjects of time, reminiscence and immor­ tality is sustained in his subsequent movie, The replicate. If Solaris had pursued the belief of everlasting existence throughout the spirit-like determine of Harey, within the reflect it was once the director's personal mom, Maria Ivanovna, who used to be the centre of his preoccupations. His deep attachment to her reveals expression in his writings, the place he describes the impossibility of reconciling himself to the truth that she was once mortal, that she wouldn't reside for ever. 1 via movie, with its skill to seize and reproduce time, Tarkovsky observed a method of constructing that 'edifice of memories'2 within which his mom could be �ortalised in a different way. partly it was once own preoccupations reminiscent of those that ended in the accusations of subjectivity opposed to the director and his movie. yet in addition to being Tarkovsky's such a lot own paintings, The reflect repres­ ents the quintessence of his cinema. In 1 968 - within the related yr as he submitted his Solaris undertaking - he approached the studios with an idea for one more movie, which was once to be known as 'The Confession'. the 2 initiatives persevered to boost parallel to one another, and it was once most likely Tarkovsky's preoccupa­ tion with the hot fabric up to his antipathy to the resource style and construction difficulties of Solaris that made him desire to finish his enterprise into technological know-how fiction and start one other movie. three different titles Tarkovsky thought of for the paintings that used to be eventually to be referred to as The reflect throw a few mild at the method he observed this new movie. for a very long time the venture bore the identify 'Bright, shiny Day'; yet he additionally thought of and rejected 'Atonement' or 'Redemption', 'Why Are You status up to now Away? ', and 'Martyrology'. four the several titles are a checklist of Tarkovsky's altering inspiration seventy eight l The replicate seventy nine of the venture. In its early shape it was once to were actually a confes­ sion made in self assurance by means of his mom: a candid interview in response to a ready checklist of questions about a accomplished diversity of topics. This interview, to be filmed by way of a hidden digital camera with out his moth­ er's wisdom, was once to were performed by way of somebody unknown to her, ostensibly with the aim of accumulating fabric for the screenplay. those scenes have been to were complemented through re­ enactments of episodes from Tarkovsky's early life and by way of the insertion of documentary newsreel fabric. the blending of innovations turned a attribute of his paintings; however the notion for The replicate additionally displays the effect of up to date principles of cinema verite within the Nineteen Sixties, and of the explicit features of tv as a medium: topicality, dwell details and the spo­ ken notice. five Tarkovsky's unique thought of interweaving documentary historic fabric and re-enacted stories of kinfolk existence used to be mostly retained. The interview together with his mom, within which she used to be to have printed her inmost strategies on her relatives and the area at huge, used to be deserted.

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