Sergey Paradzhanov of
Paradzhanov Sergey Iosifovich (Sarkis Paradzhanyan) (on January 9, 1924, Tiflis - on July 21, 1990, Yerevan) - the ingenious film director. One of the most great masters in the history of cinema. People`s artist Ukrainian Soviet Socialist Republic, people`s artist of the Armenian Soviet Socialist Republic.
In it is mute distinctly lines reckless Udaltsov of the heroic epos of the Armenian people which primitive illegibility is associated with psychology unconscious, the most ancient sexual cults - not most studied party of the epos are shown. Nevertheless, superconcrete thinking of ordinary titans also addressed ingenious abstraction in works of the subsequent interpreters. In this regard Sergey Paradzhanov really resembles naive giants, he at the same time both is specific, and is abstract. Both it is realistic, and is mythical.
At the same time it is an undoubted product kukolno - decorative Tiflis - the city unique in due time in which there lived talented puppets, in theatrical, certainly, understanding. The street buffooneries which are not curtained by excessive mystery were able to be knocked here on each window and even without demand to come into houses; Sergey Paradzhanov was connected by all the threads with the surprising atmosphere of this drawn city. In the first quarter of last century in Armenia of such cities did not exist any more, it is very difficult to present its birth to Erivani. However, the similar image quite could be born in the medieval Armenian capital of Ania or even one thousand years ago much earlier - in other capital city - Dvin.
And, certainly, the most powerful Iranian influence, synthesis of grotesque action and miniature, state pathos and mildness of sayings. The imperial historiography is, as a rule, inclined to consider the creative party of a colonial policy, the British or Russian traditions attribute mother countries of a merit in ensuring the general development of controlled territories and the people - the statement disputable, but not deprived of the bases. The Ottoman Empire, anyway, makes an exception: the level of development of its colonies was is incomparable above an indicator of the mother country. However, it is hardly worth pressing in justice of this statement, however, now if it and so, then the Persian domination over the region - ohm “is justified“ by already fact of the phenomenon of Sergey Paradzhanov. Greatness of its statements is brought to the miniature level. Symbiosis of the telescope and a microscope is especially Persian.
A combination of the described three factors, the birth of so outstanding art phenomenon which caused as a result what, undoubtedly, Sergey Paradzhanov is represented, of course, accident - in fact the combination of improbable coincidence, most rare in the Universe, and slips which led, for example, to formation of galaxies and even emergence of life on Earth.
such slip was also the director - the most powerful creative emission, it is similar to space explosion. In this regard it - alternative of life. It is therefore silly to consider Paradzhanov`s phenomenon as something anti-Soviet, it sharply narrows the scale of its elements. Other business that on the same misunderstanding the artist was born in the country which offered the world own alternative way of development; conflict in a protivopokazannost of options. It is no wonder that when in 1977 at the request of Lilya Brik of Louis Aragon appealed to Leonid Brezhnev to unbind Paradzhanov, that long could not understand about whom it in general there is a speech. Any Soviet dissident was not able to afford to address to the chairman of the board of ministers of the USSR Andrey Kosygin the similar letter: “As I am the only jobless film director in the Soviet Union, I kindly ask to release me through sovetsko - the Iranian border in a naked look; perhaps, I will become the ancestor of the Iranian cinema“. It is even not frivolous, simply perfect other perception of the world. Equally well Paradzhanov could suggest the president Nixon to live with him year - another in a reservation at Indians. Associations with diary entries of “one genius“ Salvador Dali are not new at all: the only difference between me and the madman that I not the madman.
However, and the genius - in a sense - him to call hard. Paradzhanov - the phenomenon out of schools. It neither initiator, nor successor; unlike the same Fellini, Tarkovsky or Peleshyan: the Holy Trinity of world cinema supported “camp shine“ of the nimbus concluded under a lattice, this surprising synthesis of the Armenian first-born gene of creation, art of the Persian Middle Ages and bourgeois Tiflis`s decorative effect. Whether it is worth doubting that transposition of all this matter on the Slavic folklore field - the picture “Shadows of the Forgotten Ancestors“ - could not but shock, to admire one with perfect singularity, to anger others for the same reason. After Paradzhanov`s arrest on December 17, 1973 the first communist of Ukraine Shcherbitsky will declare: “Poetic cinema it is finished“. However, Lilya Brik and Vasily Katanyan, Marina Vladi and Vladimir Vysotsky, Roman Balayan, Kira Muratova, Emil Lotyanu, Inna Churikova, Yury Nikulin will not be agree with the statement. Absolutely, to Milne`s kak - plush Paradzhanov and everything, everything, all!
The burro some time of veins at him in Kiev on the eighth floor and even welcomed guests as once Tarkovsky. However, Paradzhanov entered the Ararat valley already without donkey. Masters accepted with bible triumph, carried on hands as Saint baby. The only difference between it and the child was that it really was not it; it is rather a muse for all floors. However, half of his own house - overlooking the great mountain, still really did not inhale traces when on July 20, 1990 Sergey Paradzhanov did not become. He died in embraces of Ararat.
Having for the first time seen it “Shadows of the forgotten ancestors“ Andrzej Wajda kneelt before Paradzhanov and kissed to it a hand. The ion was not lonely in the admiration at all. “If suggested to send me to other civilization the one and only movie from all world cinema, I would send “Shadows of the forgotten ancestors“, - so other great director and actor Robert Ossein expressed the delight this masterpiece of creativity of Sergey Paradzhanov.
The artist idolized Armenia epic passion - it appears from his diary entries, letters and the interrupted 300 meters of a film of biographic “Confession“ though it is hard to define date of a possible origin of the image: one thousand years ago, two thousand, three? Another is obvious: as the rope-walker of history, he balanced between the myths and reality which are closely bound in his destiny.
There is such drevnevostochny myth about twins: brothers are unseparable, however stay in constant antagonism: That and Gore, This and Huts, Abel and Cain. Fight of two similar beginnings reflects process of continuous searches in uniform “I“. Opposition is cruel, sometimes with death. However, next day everything begins anew. Paradzhanov was sick with the bliznechny myth because he looked for all life similar, its well-known collages are not a metamorphosis Narcissa, and search of the twin brother. The folklore really took the major place in his feelings. By the way, in the Armenian epos - probably, with an ulterior motive shifted by it in the script of the movie - brothers - antagonists also appear: twins Sanasar and Bagdasar.
of “100 most great Armenians of the 20th century“.