Structure and content[edit]Mirror depicts the thoughts, emotions and memories of Alexei, or Alyosha (Ignat Daniltsev), and the world around him as a child, adolescent, and forty-year-old. The adult Alexei is only briefly glimpsed, but is present as a voice-over in some scenes including substantial dialogue. The structure of the film is discontinuous and nonchronological, without a conventional plot, and combines incidents, dreams and memories along with some news-reel footage. The film switches among three different time-frames: prewar (1935), war-time (1940s), and postwar (1960s or '70s).Mirror draws heavily on Tarkovsky's own childhood. Memories such as the evacuation from Moscow to the countryside during the war, a withdrawn father and his own mother, who actually worked as a proof-reader at a printing press, feature prominently.Synopsis[edit]The film opens with Alexei's adolescent son Ignat (also played by Ignat Daniltsev) switching on a televisor and watching the examination of a stammerer by a physician. After the opening titles roll, a scene is set in the countryside during prewar times in which Alexei's mother Maria (Margarita Terekhova) â also called Masha and Marusya â talks with a doctor (Anatoli Solonitsyn) who chances to be passing by. The exterior and interior of Alexei's grandfather's country house are seen. The young Alexei, his mother and sister watch as the family barn burns down. In a dream sequence Maria is washing her hair. Now in the postwar time-frame, Alexei is heard talking with his mother Maria on the phone while rooms of an apartment are seen. Switching back to the prewar time-frame, Maria is seen rushing frantically to her work-place as a proof-reader at a printing press. She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza (Alla Demidova), who then abruptly reduces her to tears with withering criticism. Back in postwar time, Alexei quarrels with his wife, Natalia (also played by Margarita Terekhova), who has divorced him and is living with their son Ignat. This is followed by news-reel scenes from the Spanish Civil War and of a balloon ascent in the U.S.S.R. In the next scene, set in Alexei's apartment, Ignat meets with a strange woman (Tamara Ogorodnikova) sitting at a table. At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Alexei. The strange woman vanishes mysteriously. Switching to war-time, the adolescent Alexei is seen undergoing rifle training with a dour instructor, intercut with news-reel footage of World War II and the Sino-Soviet border conflict. The reunion of Alexei and his sister with their father (Oleg Yankovsky) at war's end is shown. The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence. Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria. The film then moves to the postwar time, showing Alexei apparently on his death-bed with a mysterious malady. The final scene plays in the prewar time-frame, showing a pregnant mother, Maria, intercut with scenes showing Maria young and old. (Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova.)
Output: Question: In which phase does the quarrel arose between Alexei and Natalia?, Answer: In the postwar sequence.