ith to the themes of war itself. The off-screen monologue introduces the recollections of the narrators childhood and his adult life that are being elucidated with the visualry of the images on the screen. The leaps between the scenes are perceived smoothly and line up into one picture. However, the view point that is being presented has an unusual approach: the past that is being shown is built up not simply of direct experience but is being presented as a mosaic of what the narrator knew firsthand, what he was told, what he dreamed or imagined, and what happened around him as part of a historical process that he shared with millions of other people. The dream and memory seem to overlap and intermingle, sharing the same visual and auditory imagery merging in time frames, with characters belonging to past and present appearing together. There are no loud scenes or spontaneous eruptions, but the underlying feelings of grief and guilt that are tormenting the narrator are obvious without showing emotions too vividly. The film is not an outburst; it is a quiet amusement with hitches of sadness, troubles of poverty and hunger, sorrow, loss, regret, fear, longing and desolation; but at the same time, love and hope. It is probably one of the greatest sensual films ever created. As Tarkovsky himself revealed the title Mirror is just an accidental thought that happened to accord with his personal feelings and psychological contemplation. Thus, the purpose of the film according to the director himself is its inspiration, is that of a homily: look, learn, use the life show here as an example. Although it seems so simple, the title is much more than just a sudden thought. Mirror is not just a sudden word, it has deep cinematic, psychological and philosophical implications and overtones within the film. Common to Tarkovsky, already seen in Solaris and later in Nostalgia, cinematic technique, of multiple reflections is important in Mirror....
