[-23 films]
How to apologize to those few readers for having assumed the right to talk about cinema since the word is slight compared to the frame?
What better way to end a period of years at groped to write about movies, the cinema, if not in the cinema with some thoughts about my favorite film director? Perhaps it would be to shut up before the genius, but also the defect of the word This time I did not abandon them-and then here my last thoughts and ridiculous on film, a cinematographic work incredible, extraordinary, visionary and wonderful Andrej Tarkovskji ... good read indeed good vision.
CHILDHOOD DENIED
Andrej Tarkovskji son of Russian poet Arseny Tarkovsky, was born in 1932 in Zavrazhe, in the former Soviet Union. From 1939 he attended the state school in Moscow that ended in 1951 with a delay caused by the war is a sickness. After studying piano, painting and sculpture at the school of arts, in 1951 he enrolled at the school of oriental studies, geology but then in 1954 began to study institute Film of Moscow, where she will graduate in 1960 with the short film "The steamroller and the violin." The main theme running through almost all movies Tarkovskji is the unease that argument comes from his personal experience. Expressing this condition in his works, Tarkovskji part by the figure of childhood with his first long feature, "Ivan's childhood" of 1962, which tells the story of a child forced by war to a ' sad childhood, to grow ahead of time, the background of the conflict between the Red Army and the Nazis. Tarkovsky's cinema is a reflection on the individual, alienated from the reality of his time and immersed in his suffering.
The main character, Ivan, is always serious, the mood is different from the kids his age, but with very clear in our hearts a dream of a normal childhood, with talent expressed through the use of slow motion in the dreams of Child, mother and children have as their object denied.
Tarkovsky was inspired by a novel Bolomov, called "Ivan", to manage personal work in which they are told the adventures of a boy orphaned by war and forced to fight. Here, then, that as soon as possible, falls asleep and dreams of being with her mother, in the places of childhood, playing with friends, kiss the girl he loved. The tragedy of Ivan is made alive and vivid in sharp contrast between her face, smiling and bright in the dream, as opposed to the devastated during the war scenes. "Childhood of Ivan" breaking ties with the literary tradition with melodrama and with patriotism. The war, the film takes on a symbolic value that goes beyond the concrete data. Not by chance are completely absent for fight scenes. The drama is inward and spiritual devastation is the greatest expression in the faces of men.
The twelve year old Ivan, who lost their parents during the Nazi invasion of the Soviet Union becomes a valuable employee of the partisans at first and then the army, engaging in a dangerous series of exploratory missions beyond the lines. Returning from a mission is accepted by men of the lieutenant, who at first suspected it to be a Nazi spy. Following representations by the boy, brought him into contact with the captain and the colonel to whom it provides important information on the location of the enemy. Sent to the school of war, Ivan manages to escape and is reached by the captain, who decides to take it with you. Back to the front, Ivan disappears during a sortie. When the war ended the lieutenant discovers that the boy, captured by the Germans, was sentenced to death. The drama of the war are concentrated in the story of the little Ivan. Indeed, "Ivan's Childhood" is a film about war without battle scenes, in which the hallucinatory character the full story and pictures, and the unconventional way to talk about the ugliness that war because children are the cornerstones. The attempt is to describe the war that lives in Ivan, located within his personal history, revealed in the moments when it reveals the desire for self-destruction, death to self, the causes can not be identified in that war and the loss of parents at war. So Ivan is at the same time: child - soldier - adult - senior - father - rebel - Commander - Fugitive - subordinate. And that's the great war-theft function and dare I say it from any form of violence: stealing time, denying the future, la crescita. Il tema principale del film diventa dunque il capovolgimento della logica del reale, da una parte l’apparenza di una porta che si apre e che invece si chiude poco prima che venga attraversata, ossia il sogno, dall’altra la violenta ed ingiusta lotta quotidiana per la sopravvivenza, ossia la realtà della guerra. Le visioni oniriche del piccolo Ivan, colme di elementi simbolicamente materni quali ad esempio l’acqua, i frutti della terra non sono altro che piccole parentesi ancora più struggenti al confronto di un risveglio drammatico in un mondo opposto a quello sognato. In genere la guerra viene rappresentata sempre con immagini cruente non nel caso di questo assoluto capolavoro che parla di guerra tramite l’infanzia negata the young Ivan.
The Exile in 1965 and then the turn of "Andrei Rublev", which tells the story of Rublev, the famous Russian icon painter in 1400. This film deals with the theme of the artist in relation to its time and the inconvenience this causes. In fact the same Tarkovskji says: "The artist is never free. There is another category of people is less freedom of artists. They are chained to their gift to their predestination, which is to serve your gift and, for that very reason, men. " It 'just wants to express this concept Tarkovskji within this his masterpiece. In fact the top Rublev is represented as a artist believes that art is the only thing that ennobles man, but in the course of his life also because of historical facts which assists, including the invasion of Russia by other people understand how the first ' art is simple, then falls into the opposite or in the removal from the values, then makes a vow of silence to expiate guilt, until an encounter with a child, the son of a manufacturer of bells, allows him to strike a balance among its fundamental values \u200b\u200band that is life, art and religion. So Rublev is a hero shy and introverted, easy prey to doubts and hesitations, but tenacious and eager to communicate and contribute to the welfare of their fellows. Rublev is aware that the real chance of stemming the violence of the repression is in a true relationship with others and tries to communicate this to the people, through their own works. In a world of gray light of its icons is an invitation to a more spiritual. The suggestion is not collected and the artist decided not to speak nor voice nor his artistic production. Resume talking until the end of the film, when the courage of a young man makes a "kind" of miracle. The bell of the village, occupied by a horde of invaders, breaks, and was ordained to the founder of bells, the only familiar with the formula that allows the clay with which it is made to resist the bell the violent strokes, they build a new one. But he is dead, carrying to the grave the secret formula. Many try to build one, but without success and that annoy the invaders who return to plunder and torture the people. Unexpectedly, the son of the founder of the bells, said to be in possession of the formula, confidatagli by his father before his death, but will not reveal it.
must be driving him to the workers. When the work is completed and the people celebrating the event, the boy crying in despair because he was convinced that his formula for the construction of the bell will not work. Rublev's approaches and for the first time in years starts to talk and decided to return to painting. We in Russia around the beginning of 1400 in front of a church, a man was trying to fly over a rudimentary balloon. The ball must be lifted in the air that is constructed of leather sewn together. A group of people break out against those who are working the business, but the ropes that keep the ship anchored on the ground are cut off: the balloon rises, causing conflicting emotions of anger and wonder. After flying over the surrounding countryside for a short time, unstitching and falls to the ground again. The ecstasy of this "kind" of shamanic flight dissolves. It is like severing an umbilical cord that binds man to earth: the strength of gravity. Tarkovsky seems to suggest that a constraint of occult uguale intensità lega lui stesso e per estensione i suoi connazionali alla Madre Russia. Esiste nella storia di questo paese una "coazione a ripetere" il proprio passato sotto la forma di un regime politico di natura dispotica. Come dire che in Russia la storia fa il suo corso transitando con una certa schifosa continuità. Il travaglio artistico e culturale di Andrei Rublev sembra riflettere il percorso di maturazione ideologica di Tarkovskij, e per estensione degli intellettuali del 1900. I due Andrej sarebbero in buona sostanza accomunati dalla medesima aspirazione verso le istanze di un umanesimo in rotta di collisione con il potere costituito. Il film di Tarkovskij è interamente girato in bianco e nero, ad eccezione del finale che offre una panoramica a colori delle Rublev's works. From beginning to end, the film Tarkovsky uses a symbolic language of its own: the bell with the representation of Saint George defeating the dragon, or the devil. St. George is the patron of horses, and these represent a symbolic element in the film Tarkovskji quite common, which could be associated with the double meaning traditionally attributed to them. On the one hand to the underworld and the other to heavenly waters, the sources and rivers. In fact, early in the film, immediately after the scene of the ball that falls to the ground, Tarkovsky introduces the image of a horse that is rolling prairie, seeming to break away from the earth and be born from it, and eventually assiste alla scena di quattro cavalli che stanno pascolando sotto la pioggia in riva a un fiume. Il cavallo è anche il simbolo dello spirito del popolo russo, della sua ansia di libertà, dell'identità col nomadismo. Andrej Rublev di Tarkovskij offre così la possibilità di rileggere il passato della storia russa che sembra ripetersi anche se in nuove forme. Vecchie e nuove forme di potere politico in cui il ruolo delll’intellettuale è sempre stato quello dell’esule. Un eremita costretto a vagare nei meandri delle sue conoscenze, della sua fantasia che galoppa come i cavalli di questo meraviglioso film.
DESCENSUS AVERNO
Nel 1972 esce Solaris, un capolavoro del genere fantascienza, tratto dall'omonimo romanzo di Stanislaw Lem. In un'epoca imprecisata, uno psicologo è inviato dalla commissione scientifica sovietica sulla stazione orbitante attorno al pianeta Solaris. Ha il compito di redigere un rapporto intorno agli strani fenomeni che li si verificano e di cui sono testimoni e vittime i tre scienziati che ancora stazionano la: un fisiologo, un cibernetico ed un fisico. Il pianeta Solaris è un'entità particolare rispetto alle altre scoperte fino ad allora: ha una intelligenza diversa e insondabile. Nel momento in cui, incapaci di altre modalità di relazionarsi, gli scienziati lo hanno bombardato con dei raggi x per avere una qualche reazione, il magma pensante del pianeta ha reagito, provocando in loro crolli nervosi. La crisi vissuta dai singoli individuals has caused a rift within the scientific community itself, with the formation of two groups. The first group considers it important and necessary to find a contact with the thinking of the planet, the second group believes this dangerous road, not scientifically valid. An astronaut during a reconnaissance trip around the planet, has witnessed some amazing facts. The testimony that it grants, rather than to clarify the mystery that revolves around Solaris, further exacerbating the gap between the two groups. One group has closed the case, having no doubt that the astronaut was prey to hallucinations, while the other group strongly believes that astronaut has been witness to represent a different intelligence. The task of deciding the fate of the planet is given to the psychologist. Arrived on the planet, he finds a different intelligence, alien, trying to communicate with him through his wife, who committed suicide years earlier. He stumbles into the unknown, and is psychologically unprepared to accept it. When you put aside your ego, you realize that in order to communicate with the magma thinking, he must adapt to a form of life other. Communication is established, the man feels throbbing within him the same mysterious force that moves the huge planet's surface and from which it is forced to remain, were aware of a possible resurgence in this far celestial body. The film ends with the same view with which it had begun: that of the parental home. The psychologist returns from elderly father with whom he was in dissent and fell at his feet, re-creating, as in a picture, the image of "The Prodigal Son" by Rembrandt. The camera moves away showing us how the whole affair is taking place on a small island on the planet Solaris, perhaps the very mind of the protagonist. Tarkovsky creates a new language and more with Solaris. In the big ship that turns the sea of \u200b\u200bSolaris, the planet surrounded by an ocean consisting of a strange kind of matter capable of reflecting the soul. Not the sublime, but the more real that belongs to each one of us, what modern psychologists call your inner self. The planet reflects what you are, not what you want to be, reflects their moral condition. Experience disgusting, unbearable for anyone, even if only in thought. But here's the here-materialized in foul monsters, obsessions and blunders, unconscious or archetypal content with life. People do not love, evil and all our paintings and remorse materialized on film. The only form of comfort seems to be Tarkovskji fate to inhabit the earth. Only regret in a purified state of almost madness, from the time since, until they return to the room where the father is one of the books with the dog, and rain that wet behind the glass, and cleans everything. Here's all you perhaps Tarkovskji means living in their own destiny. Moreover Andrei Tarkovsky film was the art form that uses time as its raw material. What is the color for painting, music is the sound, is the word for poetry, the cinema is the time, the same time and I dare say the same malaise that engulfs the sensitive person who is confronted with himself. Faced with a world dominated by science and technology Tarkovskji claims the value of art as an instrument of knowledge of the truth, or even as an archetype of truth itself. In fact, our director said: "Through art, man appropriates reality through experience subjective. In science, human knowledge of the world proceeds along the steps of a stairway endlessly, and was subsequently replaced by new knowledge about it that often are refuted each other in the name of objective truths details. The discovery of art, however, is born each time as a new and unique in the world, as a hieroglyphic of absolute truth. It comes as a revelation, as a passionate desire to grasp intuitively, and suddenly all at once the laws of the world, its beauty and its horror, his humanity and its ferocity, its infinity and its limitations. The artist expresses creating an artistic image that is a sui generis grasp the absolute. By means of the image remains the perception of infinity where it is expressed through the constraints: the spiritual through the material, thanks to the limitless boundaries. "
MEMORIES AND SEPARATION
In 1975 it was the turn of "The Mirror", a great masterpiece. It 'hard to put into words the greatness of this work: Very briefly, it shows the director's reflections on his life, which makes a budget estimated to be forty years. So at first glance one might say meta-cinema, but in reality, "The Mirror" is also something else. The plot unfolds around the representation in parallel with the protagonist of the story of childhood and images representing historical events and the director of adult life. The main topic could be represented by the fate of the director himself both as a child as an adult, first as a spectator, then as a protagonist. Basically this film is about memories and separations. Describing them with images that do not have a logical sequence, he compares the image of the wife to her mother, essentially similar in personality, this intertwining of memories together with a delicate poetic, made of slow motion pictures and numerous close-ups. There is a "kind" of slowness in the story told, as if to ask Tarkovskji silence and concentration for a complete identification with the events of the film. A film where several generations are reflected in a hall of mirrors, endlessly reproducing the same image. The Mirror could be the story of successive generations over time. A personal history reflected in the history of a people and a civilization, the story of a difficult process of identification and a "mother complex", which features the director's personal history and collective history of the entire Russian people. Born during a period of illness of the director, this masterpiece is characterized by moments of intense reflection on its past. The director sees the project into their own experience of existential experience of the child, that is how he had to suffer the consequences of the separation of parents and education strongly influenced by the maternal female component. It 's like Tarkovsky is reminiscent of his childhood and his mother's house in the countryside, during the evacuation because of the war. Several images are alternated without any logical sequence: the arrival of the new doctor in the country next door, the burning of a barn, the father's return from the front, the dream of the mother and the house that is about to collapse. Ridestatosi by memories, the director called her mother on the phone and informs him that the death of his beloved companion of his youth work. Kicks to the memory of an episode when the mother worked nella redazione di una casa editrice: una giovane donna si affretta sotto una pioggia torrenziale per raggiungere la tipografia dove ha consegnato le bozze di una pubblicazione che dovrebbe andare in stampa.
La ragazza è affannata ed il suo arrivo in tipografia suscita un certo nervosismo. Si fa consegnare le bozze, le legge. A questo episodio ne succede un altro che ritrae gli esuli politici dalla Spagna. Immagini ricavate dalle riprese documentarie della guerra civile spagnola scorrono insieme ad altre di alcune manifestazioni di entusiasmo popolare, in occasione del lancio di palloni aerostatici in Unione Sovietica. Dopo di che il ricordo si sposta sul proprio figlio: un ragazzo prossimo all’adolescenza. Subito dopo una signora anziana con abiti ottocenteschi, appears in the living room and the boy is invited to read a book a few sentences underlined. And even the phone call to his son and a memory of war as seen through the eyes of a boy. Here are other images from the archives: the Soviet army passed through a lake, men covered with mud that seem out of the land, the taking of Berlin by the Red Army and photos of the alleged corpse of Hitler, then the celebrations for the end of the war in Moscow, the head of the atomic bomb in Hiroshima and Nagasaki. All images that express the views of Tarkovskji view on history but also metaphorically through the eyes of Russia. Then the painful memory of the separation from his wife. Then the mind goes back to mother, when they were displaced during the war, and his mother had sold a pair of earrings, to get food. Other memories crowd the mind: his sister, his grandmother. And remember the images fade in memory on a set of trees at sunset. We are the epilogue of this absolute masterpiece, journey back in time and separation is the same Tarkovskji that the Russian people but I dare say all of humanity.
EPILOGUE After "The Mirror" followed by three more masterpieces: "Stalker" in 1979, "Nostalghja" of 1983 and finally "Sacrifice" came out in 1986 shortly before his untimely death occurred in Paris at the end of December 1986. (Part One)
What better way to end a period of years at groped to write about movies, the cinema, if not in the cinema with some thoughts about my favorite film director? Perhaps it would be to shut up before the genius, but also the defect of the word This time I did not abandon them-and then here my last thoughts and ridiculous on film, a cinematographic work incredible, extraordinary, visionary and wonderful Andrej Tarkovskji ... good read indeed good vision.
CHILDHOOD DENIED
Andrej Tarkovskji son of Russian poet Arseny Tarkovsky, was born in 1932 in Zavrazhe, in the former Soviet Union. From 1939 he attended the state school in Moscow that ended in 1951 with a delay caused by the war is a sickness. After studying piano, painting and sculpture at the school of arts, in 1951 he enrolled at the school of oriental studies, geology but then in 1954 began to study institute Film of Moscow, where she will graduate in 1960 with the short film "The steamroller and the violin." The main theme running through almost all movies Tarkovskji is the unease that argument comes from his personal experience. Expressing this condition in his works, Tarkovskji part by the figure of childhood with his first long feature, "Ivan's childhood" of 1962, which tells the story of a child forced by war to a ' sad childhood, to grow ahead of time, the background of the conflict between the Red Army and the Nazis. Tarkovsky's cinema is a reflection on the individual, alienated from the reality of his time and immersed in his suffering.
The main character, Ivan, is always serious, the mood is different from the kids his age, but with very clear in our hearts a dream of a normal childhood, with talent expressed through the use of slow motion in the dreams of Child, mother and children have as their object denied.
Tarkovsky was inspired by a novel Bolomov, called "Ivan", to manage personal work in which they are told the adventures of a boy orphaned by war and forced to fight. Here, then, that as soon as possible, falls asleep and dreams of being with her mother, in the places of childhood, playing with friends, kiss the girl he loved. The tragedy of Ivan is made alive and vivid in sharp contrast between her face, smiling and bright in the dream, as opposed to the devastated during the war scenes. "Childhood of Ivan" breaking ties with the literary tradition with melodrama and with patriotism. The war, the film takes on a symbolic value that goes beyond the concrete data. Not by chance are completely absent for fight scenes. The drama is inward and spiritual devastation is the greatest expression in the faces of men.
The twelve year old Ivan, who lost their parents during the Nazi invasion of the Soviet Union becomes a valuable employee of the partisans at first and then the army, engaging in a dangerous series of exploratory missions beyond the lines. Returning from a mission is accepted by men of the lieutenant, who at first suspected it to be a Nazi spy. Following representations by the boy, brought him into contact with the captain and the colonel to whom it provides important information on the location of the enemy. Sent to the school of war, Ivan manages to escape and is reached by the captain, who decides to take it with you. Back to the front, Ivan disappears during a sortie. When the war ended the lieutenant discovers that the boy, captured by the Germans, was sentenced to death. The drama of the war are concentrated in the story of the little Ivan. Indeed, "Ivan's Childhood" is a film about war without battle scenes, in which the hallucinatory character the full story and pictures, and the unconventional way to talk about the ugliness that war because children are the cornerstones. The attempt is to describe the war that lives in Ivan, located within his personal history, revealed in the moments when it reveals the desire for self-destruction, death to self, the causes can not be identified in that war and the loss of parents at war. So Ivan is at the same time: child - soldier - adult - senior - father - rebel - Commander - Fugitive - subordinate. And that's the great war-theft function and dare I say it from any form of violence: stealing time, denying the future, la crescita. Il tema principale del film diventa dunque il capovolgimento della logica del reale, da una parte l’apparenza di una porta che si apre e che invece si chiude poco prima che venga attraversata, ossia il sogno, dall’altra la violenta ed ingiusta lotta quotidiana per la sopravvivenza, ossia la realtà della guerra. Le visioni oniriche del piccolo Ivan, colme di elementi simbolicamente materni quali ad esempio l’acqua, i frutti della terra non sono altro che piccole parentesi ancora più struggenti al confronto di un risveglio drammatico in un mondo opposto a quello sognato. In genere la guerra viene rappresentata sempre con immagini cruente non nel caso di questo assoluto capolavoro che parla di guerra tramite l’infanzia negata the young Ivan.
The Exile in 1965 and then the turn of "Andrei Rublev", which tells the story of Rublev, the famous Russian icon painter in 1400. This film deals with the theme of the artist in relation to its time and the inconvenience this causes. In fact the same Tarkovskji says: "The artist is never free. There is another category of people is less freedom of artists. They are chained to their gift to their predestination, which is to serve your gift and, for that very reason, men. " It 'just wants to express this concept Tarkovskji within this his masterpiece. In fact the top Rublev is represented as a artist believes that art is the only thing that ennobles man, but in the course of his life also because of historical facts which assists, including the invasion of Russia by other people understand how the first ' art is simple, then falls into the opposite or in the removal from the values, then makes a vow of silence to expiate guilt, until an encounter with a child, the son of a manufacturer of bells, allows him to strike a balance among its fundamental values \u200b\u200band that is life, art and religion. So Rublev is a hero shy and introverted, easy prey to doubts and hesitations, but tenacious and eager to communicate and contribute to the welfare of their fellows. Rublev is aware that the real chance of stemming the violence of the repression is in a true relationship with others and tries to communicate this to the people, through their own works. In a world of gray light of its icons is an invitation to a more spiritual. The suggestion is not collected and the artist decided not to speak nor voice nor his artistic production. Resume talking until the end of the film, when the courage of a young man makes a "kind" of miracle. The bell of the village, occupied by a horde of invaders, breaks, and was ordained to the founder of bells, the only familiar with the formula that allows the clay with which it is made to resist the bell the violent strokes, they build a new one. But he is dead, carrying to the grave the secret formula. Many try to build one, but without success and that annoy the invaders who return to plunder and torture the people. Unexpectedly, the son of the founder of the bells, said to be in possession of the formula, confidatagli by his father before his death, but will not reveal it.
must be driving him to the workers. When the work is completed and the people celebrating the event, the boy crying in despair because he was convinced that his formula for the construction of the bell will not work. Rublev's approaches and for the first time in years starts to talk and decided to return to painting. We in Russia around the beginning of 1400 in front of a church, a man was trying to fly over a rudimentary balloon. The ball must be lifted in the air that is constructed of leather sewn together. A group of people break out against those who are working the business, but the ropes that keep the ship anchored on the ground are cut off: the balloon rises, causing conflicting emotions of anger and wonder. After flying over the surrounding countryside for a short time, unstitching and falls to the ground again. The ecstasy of this "kind" of shamanic flight dissolves. It is like severing an umbilical cord that binds man to earth: the strength of gravity. Tarkovsky seems to suggest that a constraint of occult uguale intensità lega lui stesso e per estensione i suoi connazionali alla Madre Russia. Esiste nella storia di questo paese una "coazione a ripetere" il proprio passato sotto la forma di un regime politico di natura dispotica. Come dire che in Russia la storia fa il suo corso transitando con una certa schifosa continuità. Il travaglio artistico e culturale di Andrei Rublev sembra riflettere il percorso di maturazione ideologica di Tarkovskij, e per estensione degli intellettuali del 1900. I due Andrej sarebbero in buona sostanza accomunati dalla medesima aspirazione verso le istanze di un umanesimo in rotta di collisione con il potere costituito. Il film di Tarkovskij è interamente girato in bianco e nero, ad eccezione del finale che offre una panoramica a colori delle Rublev's works. From beginning to end, the film Tarkovsky uses a symbolic language of its own: the bell with the representation of Saint George defeating the dragon, or the devil. St. George is the patron of horses, and these represent a symbolic element in the film Tarkovskji quite common, which could be associated with the double meaning traditionally attributed to them. On the one hand to the underworld and the other to heavenly waters, the sources and rivers. In fact, early in the film, immediately after the scene of the ball that falls to the ground, Tarkovsky introduces the image of a horse that is rolling prairie, seeming to break away from the earth and be born from it, and eventually assiste alla scena di quattro cavalli che stanno pascolando sotto la pioggia in riva a un fiume. Il cavallo è anche il simbolo dello spirito del popolo russo, della sua ansia di libertà, dell'identità col nomadismo. Andrej Rublev di Tarkovskij offre così la possibilità di rileggere il passato della storia russa che sembra ripetersi anche se in nuove forme. Vecchie e nuove forme di potere politico in cui il ruolo delll’intellettuale è sempre stato quello dell’esule. Un eremita costretto a vagare nei meandri delle sue conoscenze, della sua fantasia che galoppa come i cavalli di questo meraviglioso film.
DESCENSUS AVERNO
Nel 1972 esce Solaris, un capolavoro del genere fantascienza, tratto dall'omonimo romanzo di Stanislaw Lem. In un'epoca imprecisata, uno psicologo è inviato dalla commissione scientifica sovietica sulla stazione orbitante attorno al pianeta Solaris. Ha il compito di redigere un rapporto intorno agli strani fenomeni che li si verificano e di cui sono testimoni e vittime i tre scienziati che ancora stazionano la: un fisiologo, un cibernetico ed un fisico. Il pianeta Solaris è un'entità particolare rispetto alle altre scoperte fino ad allora: ha una intelligenza diversa e insondabile. Nel momento in cui, incapaci di altre modalità di relazionarsi, gli scienziati lo hanno bombardato con dei raggi x per avere una qualche reazione, il magma pensante del pianeta ha reagito, provocando in loro crolli nervosi. La crisi vissuta dai singoli individuals has caused a rift within the scientific community itself, with the formation of two groups. The first group considers it important and necessary to find a contact with the thinking of the planet, the second group believes this dangerous road, not scientifically valid. An astronaut during a reconnaissance trip around the planet, has witnessed some amazing facts. The testimony that it grants, rather than to clarify the mystery that revolves around Solaris, further exacerbating the gap between the two groups. One group has closed the case, having no doubt that the astronaut was prey to hallucinations, while the other group strongly believes that astronaut has been witness to represent a different intelligence. The task of deciding the fate of the planet is given to the psychologist. Arrived on the planet, he finds a different intelligence, alien, trying to communicate with him through his wife, who committed suicide years earlier. He stumbles into the unknown, and is psychologically unprepared to accept it. When you put aside your ego, you realize that in order to communicate with the magma thinking, he must adapt to a form of life other. Communication is established, the man feels throbbing within him the same mysterious force that moves the huge planet's surface and from which it is forced to remain, were aware of a possible resurgence in this far celestial body. The film ends with the same view with which it had begun: that of the parental home. The psychologist returns from elderly father with whom he was in dissent and fell at his feet, re-creating, as in a picture, the image of "The Prodigal Son" by Rembrandt. The camera moves away showing us how the whole affair is taking place on a small island on the planet Solaris, perhaps the very mind of the protagonist. Tarkovsky creates a new language and more with Solaris. In the big ship that turns the sea of \u200b\u200bSolaris, the planet surrounded by an ocean consisting of a strange kind of matter capable of reflecting the soul. Not the sublime, but the more real that belongs to each one of us, what modern psychologists call your inner self. The planet reflects what you are, not what you want to be, reflects their moral condition. Experience disgusting, unbearable for anyone, even if only in thought. But here's the here-materialized in foul monsters, obsessions and blunders, unconscious or archetypal content with life. People do not love, evil and all our paintings and remorse materialized on film. The only form of comfort seems to be Tarkovskji fate to inhabit the earth. Only regret in a purified state of almost madness, from the time since, until they return to the room where the father is one of the books with the dog, and rain that wet behind the glass, and cleans everything. Here's all you perhaps Tarkovskji means living in their own destiny. Moreover Andrei Tarkovsky film was the art form that uses time as its raw material. What is the color for painting, music is the sound, is the word for poetry, the cinema is the time, the same time and I dare say the same malaise that engulfs the sensitive person who is confronted with himself. Faced with a world dominated by science and technology Tarkovskji claims the value of art as an instrument of knowledge of the truth, or even as an archetype of truth itself. In fact, our director said: "Through art, man appropriates reality through experience subjective. In science, human knowledge of the world proceeds along the steps of a stairway endlessly, and was subsequently replaced by new knowledge about it that often are refuted each other in the name of objective truths details. The discovery of art, however, is born each time as a new and unique in the world, as a hieroglyphic of absolute truth. It comes as a revelation, as a passionate desire to grasp intuitively, and suddenly all at once the laws of the world, its beauty and its horror, his humanity and its ferocity, its infinity and its limitations. The artist expresses creating an artistic image that is a sui generis grasp the absolute. By means of the image remains the perception of infinity where it is expressed through the constraints: the spiritual through the material, thanks to the limitless boundaries. "
MEMORIES AND SEPARATION
In 1975 it was the turn of "The Mirror", a great masterpiece. It 'hard to put into words the greatness of this work: Very briefly, it shows the director's reflections on his life, which makes a budget estimated to be forty years. So at first glance one might say meta-cinema, but in reality, "The Mirror" is also something else. The plot unfolds around the representation in parallel with the protagonist of the story of childhood and images representing historical events and the director of adult life. The main topic could be represented by the fate of the director himself both as a child as an adult, first as a spectator, then as a protagonist. Basically this film is about memories and separations. Describing them with images that do not have a logical sequence, he compares the image of the wife to her mother, essentially similar in personality, this intertwining of memories together with a delicate poetic, made of slow motion pictures and numerous close-ups. There is a "kind" of slowness in the story told, as if to ask Tarkovskji silence and concentration for a complete identification with the events of the film. A film where several generations are reflected in a hall of mirrors, endlessly reproducing the same image. The Mirror could be the story of successive generations over time. A personal history reflected in the history of a people and a civilization, the story of a difficult process of identification and a "mother complex", which features the director's personal history and collective history of the entire Russian people. Born during a period of illness of the director, this masterpiece is characterized by moments of intense reflection on its past. The director sees the project into their own experience of existential experience of the child, that is how he had to suffer the consequences of the separation of parents and education strongly influenced by the maternal female component. It 's like Tarkovsky is reminiscent of his childhood and his mother's house in the countryside, during the evacuation because of the war. Several images are alternated without any logical sequence: the arrival of the new doctor in the country next door, the burning of a barn, the father's return from the front, the dream of the mother and the house that is about to collapse. Ridestatosi by memories, the director called her mother on the phone and informs him that the death of his beloved companion of his youth work. Kicks to the memory of an episode when the mother worked nella redazione di una casa editrice: una giovane donna si affretta sotto una pioggia torrenziale per raggiungere la tipografia dove ha consegnato le bozze di una pubblicazione che dovrebbe andare in stampa.
La ragazza è affannata ed il suo arrivo in tipografia suscita un certo nervosismo. Si fa consegnare le bozze, le legge. A questo episodio ne succede un altro che ritrae gli esuli politici dalla Spagna. Immagini ricavate dalle riprese documentarie della guerra civile spagnola scorrono insieme ad altre di alcune manifestazioni di entusiasmo popolare, in occasione del lancio di palloni aerostatici in Unione Sovietica. Dopo di che il ricordo si sposta sul proprio figlio: un ragazzo prossimo all’adolescenza. Subito dopo una signora anziana con abiti ottocenteschi, appears in the living room and the boy is invited to read a book a few sentences underlined. And even the phone call to his son and a memory of war as seen through the eyes of a boy. Here are other images from the archives: the Soviet army passed through a lake, men covered with mud that seem out of the land, the taking of Berlin by the Red Army and photos of the alleged corpse of Hitler, then the celebrations for the end of the war in Moscow, the head of the atomic bomb in Hiroshima and Nagasaki. All images that express the views of Tarkovskji view on history but also metaphorically through the eyes of Russia. Then the painful memory of the separation from his wife. Then the mind goes back to mother, when they were displaced during the war, and his mother had sold a pair of earrings, to get food. Other memories crowd the mind: his sister, his grandmother. And remember the images fade in memory on a set of trees at sunset. We are the epilogue of this absolute masterpiece, journey back in time and separation is the same Tarkovskji that the Russian people but I dare say all of humanity.
EPILOGUE After "The Mirror" followed by three more masterpieces: "Stalker" in 1979, "Nostalghja" of 1983 and finally "Sacrifice" came out in 1986 shortly before his untimely death occurred in Paris at the end of December 1986. (Part One)
by Mariano Lizzadri
