ovde - vera znanje mir

(translated by Maria Pearse)
It is warm in the sun.
But this isn't enough.
All that might have been,
Like a five-cornered leaf
Fell right into my hands,
But this isn't enough.
Neither evil nor good
Had vanished in vain,
It all burnt with white light,
But this isn't enough.
Life took me under its wing,
Preserved and protected,
Indeed I have been lucky.
But this isn't enough.
Not a leaf had been scorched,
Not a branch broken off. . .
The day wiped clean as clear glass,
But this isn't enough.
It is a sad and irrefutable fact that the overwhelming majority of the population has decided to bury
this precious gift of longing for the Light deep within them. Tarkovsky clearly perceived this - ". . .
it's only possible to communicate with the audience if one ignores that eighty percent of people
who for some reason have got it into their heads that we are supposed to entertain them" - yet with
every film he continued to try to reawaken this sense of longing within his audiences. He felt it was
his duty and his calling to give expression to that which is "innermost" in the souls of his viewers,
even if they themslves are not aware of it.
Those of us, whose spirits have been touched by his films will recall from them our own special
moments:
*** it may be the apple cart with the two children in Ivan's Childhood (aka My Name is Ivan), which
reawakens within us the longing for the lost purity of childhood;
*** it may be that sequence in Mirror, when Tarkovsky depicts his parents as a young couple lying
on the grass, already anticipating his birth, and the man asks the woman: "Who do you want more:
a boy or a girl?" The woman says nothing, but her eyes move around searchingly until she
suddenly turns away from the camera as if looking into the mystery of Creation. Tarkovsky then
cuts to the trees as the wind rustles through their leaves with the opening strains of J.S. Bach's "St.
John's Passion" coming closer and closer towards us until the jubilant outcry of the chorus: "Lord!
Lord! Master! Unto Thee be praise and glory evermore!" Where else has the entrance of a human
being into this world been depicted wih such awe and such sublime spirituality?!
*** or it may be those brief moments of zero gravity in Solaris, when the main character and his
beloved levitate (Tarkovsky felt that levitation was the most accurate cinematic depiction of the
state of love).
*** or, perhaps, it is the moment of Stalker's breakdown on the very threshold of the Room "where
all wishes are granted."
*** or that moment in Andrei Rublev, when we learn that an impoverished young man who put up a
front that he knew a special secret of bellmaking, didn't know anything after all - and yet, through
his intuition and a desperate prayer, still made the greatest bell ever.