January marked the centennial of the beginning of Soviet filmmaker Sergei Parajanov, and cinema establishments all over the world have spent the yr honoring him. Retrospectives of his work, together with new restorations of his movies, have performed in all places from Arsenal in Berlin; Il Cinema Ritrovato, the famed competition of preservation in Bologna, Italy; and the Museum of the Shifting Picture in New York. Armenia launched new postage stamps that includes Parajanov to commemorate the event.
The tributes proceed even with the top of the yr in sight, with extra screening sequence on the Berkeley Artwork Museum and Pacific Movie Archive (by way of November 22), Anthology Movie Archives in New York (November 8–17), and the College of California Los Angeles and the American Cinematheque (November 23–December 18). The lengthy extremely revered however comparatively obscure director annoyed by state interference, censorship, and repression all through his lifetime lastly will get the surge of appreciation befitting his stature.
Parajanov was born to ethnic Armenians, raised in Georgia, and made movies in Ukraine in the course of the early a part of his profession; towards the top of his life, he would say he had “three motherlands.” Every of his movies is closely steeped within the cultures of the respective Soviet republics through which they had been made. He’s primarily recognized for his final 4 options, made after Andrey Tarkovsky’s Ivan’s Childhood (1962) impressed him to interrupt from socialist realism: the Ukraine-set Shadows of Forgotten Ancestors (1965), the Armenian The Colour of Pomegranates (1969), the Georgian The Legend of Suram Fortress (1985), and the Azerbaijan-set Ashik Kerib (1988). Notice the 16-year interim between the second and third movies: Throughout that interval, he sustained surveillance and was imprisoned a number of occasions on the pretext of his bisexuality and affiliation with Ukrainian nationalist actions. He was solely in a position to return to filmmaking amid the Soviet coverage of perestroika for just a few years, earlier than dying of lung most cancers in 1990.
Movie nonetheless of Shadows of Forgotten Ancestors (1965), directed by Sergei Parajanov (courtesy Fondazione Cineteca di Bologna)
Parajanov’s late quartet of options, in addition to the shorts he directed throughout this time, are a wealthy mix of allusive, illusive, and elusive. Every adapts a folktale, quick story, or novel, or pays tribute to a historic determine — however by no means in a simple manner. His masterpiece The Colour of Pomegranates relates the lifetime of the famed Armenian poet and bard Sayat-Nova, however within the type of a sequence of enigmatic, closely symbolic sequence of tableaus slightly than as a conventional biopic. If you happen to aren’t acquainted with Sayat-Nova, the film is nearly impenetrable. However this doesn’t matter; each particular person picture within the movie is hanging in its composition and coloration. In imagining the lifetime of a poet, Parajanov imbues the movie itself with a poetic high quality, organizing scenes like stanzas and photographs like verses, inviting the viewer to attract their very own interpretation.
Although Parajanov himself expressed disdain for his pre-Ancestors work, there was a push in recent times to reevaluate them and broaden appreciation of his oeuvre past his better-known interval. Ukraine’s Dovzhenko Centre and Poland’s Fixafilm have collaborated to create 4K editions of those documentaries and fiction options to affix the opposite Parajanov restorations over the previous decade, and they are going to be a part of each the Anthology and UCLA retrospectives. For the primary time, the whole filmography of one of many biggest assemblers of multilayered imagery in cinema’s historical past will now be accessible to common audiences.
Movie nonetheless of The Legend of Suram Fortress (1985), directed by Sergei Parajanov
Movie nonetheless of The Colour of Pomegranates (1969), directed by Sergei Parajanov
Movies directed by Sergei Parajanov are screening at BAMPFA in Berkeley (now by way of November 22), Anthology Movie Archives in New York (November 8–17), and College of California Los Angeles and the American Cinematheque in Los Angeles (November 23–December 18).
