Elegantly perched at the edge of a vast yard at a green field in Russia sits a delicate figure, both restful and buoyant. A distracted mother who gazes sharply at the horizon and takes a pause from her daily occupations, her day-to-day distractions.
As she carries a sophisticated and timeless look, what makes her particularly more engaging to look at, is her desperate feeling of nostalgia.
Such a coherent image appears in a very calm and meditative way at first, but as the film continues to lead us from one thing to the other, we slowly begin to understand though an illustrative way, how silent screams can be the most powerful ones. Those which are heard through the means of gentle facial expressions. And with its logical observance, making it easy for anyone to easily travel inside the protagonist's brain; while ironically so, in real life, logic isn't often what we see.
And that's why award winning American poet Susan Howe's wide sense of inquisitiveness drove her to be able understand more of Tarkovsky's film 'Mirror' by doing something creative with it. She saw it as if it was something more than just observing its 1970's aesthetic cuts. Howe took it as the ultimate experience of watching a film look more than just a landscape, as she was driven the film both through sound and vision.
It was Tarkovsky's own rhythm of words and expressions as to how he described the beauty of what it means to struggle to obtain love, identity and acceptance. And as he allowed this to be all syndicated as a whole, Howe let on to take up the challenge and turn it onto a poetic reality - resembling it through one of her own works called 'The Quarry'.
Such an expressive imagery, eventually weaved off for Howe to have nothing but a blank piece of paper in between her and what she saw.
A non judgmental scenario that can lead not just Howe, but anyone to grasp the beauty of nature and of what the human language can turn itself into. Something that granted, will not make sense sometimes, but that in some strange way, if it wasn't this way, it wouldn't be as treasuring.
Mirror not only assorted to be an expression of a human longing, but also, it lined itself to be set as a countless scenario of color and composition by its photographic illusionistic and illustrational moments. A comparable sense of European Symbolism in decorative art, only though, more as of a form of complication from the divinity of dreams. Dreams that illustrate a vivid vision of Tarkovky's melancholic past.
Tarkovsky's unexplainable truth aimed to express a present moment without even clearly realizing it. A truth that connects our thoughts to our own past, and back again, to the poetic truth of life itself.
After an hour of watching the projection, silence on complicated scenes lied ahead of us watching the big screen, symbolizing this is nothing but a universal feeling. The kind of sentiment which Howe was able to cut out in her own way by adding words to her blank piece of paper that once sat beneath her, making it more as her own landscape. Mirror blends along well not only through Howe's poetry, but through its own art. And as we unconsciously analyze it all, at the end of the day, we allow our minds be driven by its strange plot.
Ultimately enough, this will all make one understand something beautiful happening from that different era, from that distant culture, from its unique poetry. Particularly enough, with the establishment of its landscape and the motherly delicate figure in front of it, both opening and closing Tarkovky's film in the most silent and melancholic way, making the rest of us, along with Susan Howe, eventually begin to expand our own perception of it.