Learn from the Master Taskovski : Mirror Movie - Part 1

What is Art?

“Never try to convey your idea to the audience – it is a thankless and senseless task. Show them life and they'll find within themselves the means to assess and appreciate it.” - Tarkovsky

In Tamil Nadu, "Cinema" is often equated with "Entertainment," but I hold a different perspective. At its core, cinema is undeniably recognized as an art form. Is there a distinction between entertainment film and art film? (We'll delve into this briefly.) If there is, what is the true essence of the term "art"? 

 The fundamental purpose of art, in general, is to help the artist understand and convey to others the essence of human existence—what gives life meaning and why we are here on Earth. It's about either offering an explanation to people about their presence on this planet or, at the very least, prompting them to ponder this profound question - Sculpting in time : Book by Tarkovsky

Jayamohan categorizes the arts in the following manner, as mentioned in "An Introduction to Modern Tamil Literature":

• Music
• Painting
• Dance
• Literature

The abstract form comes first, and at the opposite spectrum, we find literature. Each artistic expression utilizes a specific medium. Painting relies on visual elements, while literature utilizes language as its medium. Cinema appeared as the most recent art form, akin to a younger member in the family of arts. A significant feature of cinema is its capacity to encompass all other art forms, however it is the visual media. Now, the question arises: where should it be positioned when considering its order among the arts? 

Cinema is considered an applied art because it differs from forms like painting or literature. A poet, for instance, can delve deep into the subconscious mind to create something truly unique. In contrast, cinema is always conscious of every aspect it portrays. This idea is beautifully articulated in Jeyemohan's book as follows,

Human understanding of the universe relies on three methods:

a) Meditation

b) Imagination

c) Logic

 Art enables us to explore the world through imagination, which is a subjective experience that delves into the depths of the subconscious mind. Experience is a shared human phenomenon, and art emerges when learning is combined with such experiences. Genuine art doesn't stem from an empty imagination or a void of experience. In contrast, science is grounded in logic, emphasizing objectivity and lacking subjectivity. Cinema takes inspiration from fine arts like painting and poetry to create its own unique art form, which is why it's often referred to as an applied art.

Art can be said to be the symbol of the universe. And the accompanying spiritual reality is to end us in positive, practical activities. The same can be applicable to art film too. 

Points to remember:

• Art films don't simply come to you; you must wholeheartedly seek them out.
•  They aren't created with the sole purpose of entertaining you, which means the director doesn't necessarily prioritize the viewer. Instead, the director primarily expresses their own vision and perspective.
• Every art film is deeply rooted in its own cultural context, which means that a complete understanding of it may require familiarity with that culture. In simpler terms, one part of the art is specific to its culture, while the other part is universal.
• The exclusive method to grasp the film is to persistently watch it.
• This film can be described as a semi-autobiography of a young boy. It intertwines three distinct time periods seamlessly - for this movie
• Remember cinema is a visual medium 

Mirror Movie - Part 1 (until 22 min):

This sequence revolves around a young boy's dream, which he shares with his mother.

 Metaphors play a crucial role in any visual medium. 

• Every culture has its own set of metaphors rooted in its ancient traditions, and only those familiar with that culture can fully grasp their meaning. For example, consider how fire is understood in our culture; it symbolizes purity. This can be seen in the epic Ramayana, where Lord Rama asks Sita to walk through fire to prove her purity, as fire allows only that which is pure to pass.
• Another aspect of metaphors is when they are newly developed by the artist. These metaphors are often identified through the context of the movie's narrative.

Now, let's explore the key metaphor in this sequence. 

• The first one is fire. When the house catches fire, the mother simply stands in front of it, observing. What does this mean to us? This type of metaphor falls into the second category, as per my understanding (Another interpretation could be that fire is often used as a symbol of God's presence in Christianity, but in this context, it may not be directly related. Interpretations can vary, but they should provide meaning to the situation).
• This entire sequence takes place against the backdrop of World War II, where fighter jets were used for the first time in warfare. They bombed destinations, turning them into fiery battlegrounds. Fire becomes associated with war. The mother, in this context, not only witnesses the war but also waits for someone. It is uncertain whether that person has survived the fire of war or not. This waiting becomes increasingly agonizing. You can sense that pain in the opening shot of the mother sitting on the fence amidst the smoke. You can listen the conversation of mom and son about the fire. She feels bad when son recollect about the fire. Because it remind her about the period. Especially about the war.
• You can also interpret this waiting as a fire burning within her heart. Waiting for someone is akin to sitting on a bed of embers.

Second metaphor in the sequence:

•  In a particular scene, the mother is washing her hair, and her husband is assisting her. However, when she stands up, her hair becomes entangled like a snake covering her eyes, and she struggles to clear it. During this time, she is alone, and she keenly feels the pain of solitude. Suddenly, the building around her begins to collapse.
•  The collapsing building is also symbolic of war. It signifies that you can no longer inhabit the place, as it unjustly takes away your loved ones. 
• The mother finds herself alone, aging, and nearing the end of her life. This generation has lost their lives, and there's no one left to listen to or empathize with their experiences. Instead, society often simply celebrates victory over another nation.

Film Editing: 

• Tarkovsky believed the film image not to be a composite of different shots arranged in a structure within a specific sequence progressing in time. He reasoned that if the film image is not a composite then the dominant factor of the film must be its rhythm.
• Rhythm is at the core of the “poetic film.” But Tarkovsky’s idea of rhythm is not that of Eisenstein, instead he envisioned cinematic rhythm as some kind of movement within the frame, and not as a sequence of shots in time. Hence, the main characteristic of poetic film is the process of Sculpting in Time as opposed to Eisenstein montage of attractions.
•  While Eisenstein’s process of editing is guided by intellectual and conceptual juxtaposition of images, Tarkovsky’s time sculpting involves editing techniques which allow spontaneous unification of the shot as a self-organizing structure. Instead of the interplay of concepts (Eisensteinian montage), Tarkovsky creates the film image as an expression of the matter world, or simply the world. For Eisenstein, the concept dictated the cut; but for Tarkovsky, it is time that rules, dictating the editing techniques. Therefore, time within the frame expresses something significant and truthful that goes beyond the events on the screen and those in the frame; and so, the direct perception of time is like a pointer to infinity (this approach is quite different to the montage of attraction between shots where elements in the shot juxtapose concepts, making the viewer produce some intellectual link). While the montage of attraction produces a burst of meaning, arousing the viewer with the purpose to suggest specific ideas and concepts, Tarkovskian time rhythms illustrate a way of seeing life in its essence, life’s movements. Moreover, this poetic expression of the material world may go beyond the artist’s intention and be received differently by each viewer. In the Tarkovskian School of film poetics, the filmmaker expresses his philosophy of life as opposed to creating a new perception of a social reality.

Interesting factors:

• In a striking moment, the mother transitions from a youthful appearance to suddenly aging in a single shot, creating a visually captivating scène

• Throughout the film, the elements of air, water, and fire are skillfully employed to enhance the emotional impact of the narrative. Pay close attention to how these elements contribute to the film's overall atmosphere.
•  Longer shots, a characteristic often seen in Taskovski's films, play a role in intensifying the experience and immersing the audience in the depicted situations.
•  One night, the son rises from his slumber to gaze at the wonders of nature.

• Inside the dimly lit house, two children sit while the mother stands nearby, her face reflecting a profound sadness. 

• The screen remains silent, with only a voiceover narrating the story, against the backdrop of an empty house. As they discuss Lisa, who used to work with her mother, the sound of factory noises gradually becomes audible. The camera then shifts to the window screen and transitions to a scene at the factory.

Will discuss remaining film soon.