Tbilisis saerTaSoriso kinofestivali TBILISI INERNA TIONAL FILM ...

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filmi, romlis gamo msofliom giorgi Sengelaias genia unda aRiaros avtori: piter uilsoni 140 firosmani: reJisori giorgi Sengelaia ori filmi ver Sobs kinos xelaxla, rogorc erTi mercxlis WikWiki ver moiyvans gazafxuls. da Tu es mainc SesaZlebelia, e. i. raRac xdeba sabWoTa saqarTveloSi da somxeTSi, raRac iseTi, rac kinos SesaZleblobebSi TiTqos ar unda iyos da rac Zalian mniSvnelovania mTeli samyarosTvis. me vgulismob farajanovis “saiaTnovas” da giorgi Sengelaias “firosmans”. orive filmi xelovanis cxovrebas exeba, erTi _ musikosis, meore _ mxatvris. orive maTgani brwyinvaled iyenebs xalxur musikas. am filmebis msgavseba imaSia, rom orive maTgani Rrmad religiuria da ekuTvnis filmebis im mcire ricxvs, romlebSic WeSmariti saidumloeba da sulierebaa gamefebuli. es Sefaseba ufro “firosmans” ekuTvnis, vidre “saiTnovas”, radgan igi naklebad subieqturia, metad zomieri da orTodoqsuli. niko firosmani is mxatvaria, romelic cxovrebis saxsars <strong>Tbilisis</strong> duqnebisa da restornebis moxatviT Soulobs XIX – XX saukuneebis gasayarze. is eqscentriuli bunebis adamiania, sakuTari qorwilidan garbis, Tavis qonebas Raribebs urigebs, uyvars varietes mocekvave ucxoeli qali, romelsac ar exeba da xatavs imitom, rom “wminda giorgi Tavze adgas da eubneba, rom xatos”. misi namuSevrebi masaviT “sadaa”, magram maT raRac aqvT RvTiuri. is wminda qarTul Temebs iRebs saxatavad, soflis cxovrebas, dResaswaulebs, cxovelebs da religiur atributebs, stili ki xatwerasa da mSvenierebis mis Sinagan aRqmas Soris devs. misi buneba saocrad daxvewilia, tanjviT, rwmeniT da sisufTaviT gajerebuli, rac ucxoa rogorc ubiri TanamemamuleebisTvis, ise rafinirebuli xelovanebisTvis, vinc is aRmoaCina, magram misi xelovnebis naklebad esmiT. Sengelaias genialoba mis TavmdablobaSia _ is sa- Sualebas aZlevs Tavis personaJs Tavad isaubros sakuTar Tavze da aRadginos “gemovnebis” firosmaniseuli xedva. farajanovis msgavsad Sengelaia Txzavs filmis TiToeul kadrs, misi individualuri “naxatebi” montaJis saSualebiT harmoniul, lamis ritualur ritms qmnis, rac mas pirdapir akavSirebs eizenSteinis “ivane mrisxanesTan”. vinmem SesaZloa gabedos da CaTvalos, rom “firosmani” ukeTesia, vidre “ivane mrisxane” _ ufro feris gamoyenebis TvalsazrisiT, vidre xmis da musikis koncefciis gamo. filmis kompozicia isea agebuli, rom mayurebelma is samyaro dainaxos, romelsac firosmani xedavda. es uCveulo ferebia, Sua saukuneebis mwvane da yavisferi ferebis palitra, xatebisTvis damaxasiTebeli oqrosferi da Rvinisferi, kavkasionis feradovneba da sparsuli xaliCebi. filmis mistikuroba ganpirobebulia ara imdenad dialogebiT (rac aseve mniSvnelovania), aramed im Sinagani samyaros SeqmniT, romelic saidumloebiT aris moculi. is ufro mZafria da realuri, vidre Tavad “realoba”. stili arc realisturia, arc siurealisturi da arc “naivuri”, rogorc firosmanis mSvenieri naxatebi, is ufro “metarealisturia”, simbolizmi Zalian zustia (magaliTad, kadrebi, sadac aRdgoma diliT firosmanis gardacvalebaa naCvenebi) da fiqrob, saidan modis Sengelaias STagoneba. iqneb gasaRebi xelovanis istoriul xasiaTSi unda veZioT, misi naxatebis SegrZnebaSi, ramac reJisors es religiuri dokumenti Seaqmnevina? me ar vgulismob, rom Sengelaia da farajanovi qristianuli mistikosebi arian. vTvli, rom qristianulma “renesansma” da mis wiaRSi Sobilma kulturam misca biZgi am ori xelovanis namuSevrebs. albaT maTTvis Zalian rTuli iyo am filmebis gadaRebac da ekranebze gaSvebac, magram faqtia, rom maT es SeZles. yvavi farSevangis kvercxs ver dadebs. iseT films rogorc “firosmania,” ver Seqmnis “folklorSi” qeqviT, oficialuri dogmebiT da ideologiiT gatacebuli adamiani. Tuki films raime mimarTuleba unda hqondes, maSin is iseT filmebze unda iyos orientirebuli, rogoric “firosmania”. Sengelaias filmSi Sinaganma xedvam konkretuli forma SeiZina. am logikur ganviTarebas unda gahyoloda kino, romelic droTa mdinarebaSi “izmebma” TiTqmis fatalurad daaziana. siurealizmi da realizmi mSvenierebisa da koreqtulobis SegrZnebis dakargvis sawyisi gaxda. inteleqtualuri TvalsazrisiT “izmebi” Cixia politikaSic da xelovnebaSic. Tu “progresuli” adamianisTvis sadme imedi arsebobs, es Cveni fesvebisken dabrunebaa. vin uwyis, SeuZlia Tu ara kinos am misiis Sesruleba, magram “firosmani” am imedis erTi citadelia.
THE <strong>FILM</strong> WORLD SHOULD TAKE NOTE OF SHENGELAIA”S GENIUS BY PETER WILSON PIROSMANI: DIRECTOR GEORGE SHENGELAIA Two fi lms do not make a rebirth of cinema any more than one swallow makes a summer. But if they did, it would be quite possible to say that something must be going on in Soviet Georgia and Armenia that is of the utmost importance for the whole world of fi lm, something that no one interested in the possibility of cinema as art can aff ord to ignore. Th e fi rst fi lm in this tiny category – known to me, that is – is Parajanov’s “Color of Pomegranates”. Th e second is George Shengelaia’s “Pirosmani”. I am told there are two or three others. Both fi lms concern artists – in “Pomegranates” a musician, in “Pirosmani” a painter. Both make the most exquisite use of color since Melies handpainted “Voyage to the Moon”. Th e really amazing point of resemblance, however, is that both are highly religious works and among the small handful of fi lms I’ve ever seen that express something genuine about mysticism. Th is is even more true of “Pirosmani” than of pomegranates, since it manages to be much less subjective, more restrained , simpler and perhaps more orthodox. Nicolas Pirosmani is a “naive” painter who makes his living decorating cabarets and restaurants and shops in-turn-of the century Tifl is (capital of Georgia). He is an eccentric character; he runs away from his wedding, distributes everything he gets to the poor, loves a cabaret singer from afar but never touches her, and paints because “St. George tells me to paint”. His work, like himself, is simple but in a sort of holy way. It deals with traditional Georgian themes of farm life, celebration, animals and religious subjects in a style that is half icon, half his own, pure inner vision of the beauty and richness of all he sees. His character is fantastically refi ned, within its own peculiar boundaries, by suff ering, faith and purity – traits which neither his uneducated compatriots nor the sophisticated artists who discover him and make a temporary fashion of his work can possibly understand. Shengelaya’s genius lies in the humility to let this character speak for itself, and in using fi lm to recreate the “taste” of Pirosmanis’s own vision. Like Parajanov he obviously designs each frame of the fi lm, seeing the medium in a sense as painting in motion rather than photographs in sequence. Th is individual “paintings” however, are integrated into a harmonious, almost ritual rhythm, with a grasp of the possibilities of montage which links Shengelaya directly to the Eisenstein of “Ivan the terrible”. One might almost dare to call this fi lm an improvement on “Ivan” however, because of the much more highly advanced concept of sound and music it demonstarates, but even more for its use of color. Just as composition is used to create for the viewer the world as Pirosmani sees in so are the highly unusual colors, the most medieval palette of earth green and browns touched like an icon with high lights of gold and wine red, and the patterns of Caucasian gelims and Persian carpets. Th e “mysticism” then lies not so much in the dialogue of the fi lm (though it lies there too) as in the fi lm’s success as fi lm is recreating an inner vision which itself is mystical, more intense, more real than “reality”. Th us we are engaged in a style that is not realistic, nor surrealistic, no “naïve” in the sense that Pirosmani’s marvelous paintings are naïve, but which almost be called “metarealistic”. Symbolism here is used in such an exact way (the series of images describing Pirosmani’s death on Easter morning for example) that one is forced to wonder about the actual sources of Sengelaias’s inspiration. It is possible that the historical character of the artist himself, and the presence and feeling of his paintings, have enabled the director to compose a fi lm on these subjects that is in itself a religious document? Or have the material and the meaning of the material come together in a mind already made receptive by what we might call –even if hesitantly – the presence of the spirit? I don’t mean to suggest here either, that Shengelaia and Parajanov are in fact actual Christian mystics. However, I cannot see any way to get around suggesting that these forces – the Christian “renaissance” and the materialistic society which gave it birth – have in some way infl uenced the work of these directors. On one hand there is the suggestive fact of the great diffi culty they have experienced in making their fi lms and getting them released. On the other hand, there is the evidence of the fi lms themselves. You don’t get peacocks’ eggs from crows. Toy don’s get fi lms like “Pirosmani” from ideologues delving into local “folk” culture for proof of offi cial dogmas. If fi lm is going to go anywhere at all it has got to go in the direction of fi lms like “Pirosmani” Cinema must come to confront the fact that is real and its only possibility as art is to deal with vision precisely the way Shengelaia has done here – as inner vision given concrete form. Th is is the logical development of what the earliest and greatest fi lm makers were headed towards and from which we have been almost fatally distracted by all the “isms” – surrealism and realism alike - to the point of losing all sense of beauty and correctness. Intellectually too, the “isms” are a dead end – here one must include political as well as artistic categories. Th e only thing that holds any promise is a return to the origins, for such a return is really the only “progress” man has ever been able to hope for. Whether cinema can do this or not still, I think, remains an open question. But “Pirosmani” gives one every hope that it can. 141
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Tbilisis saerTaSoriso kinofestivali TBILISI INERNA TIONAL FILM ...

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