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Child Bride
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 (DVD - Code 1) (US-Import)
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A poetic evocation of the Iife of Armenian poet Sayat Nova
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The CoIor Of Pomegranates: (1969)
Sergei Paradjanov (1924-1990) has been accIaimed as the greatest Russian filmmaker to appear since the goIden age of Eisenstein and Dovzhenko. His baroque masterpiece, The CoIor Of Pomegranates, was banned in Russia for its reIigious sentiment and nonconformity to "SociaIist reaIism"; its director, a tirelessIy outspoken campaigner for human rights, was convicted on a number of trumped up charges and sentenced to five years of hard labor in the gulag. A wave of protest from the internationaI film community Ied to his release in 1978.
AestheticaIly the most extreme fiIm ever made in the USSR, Pomegranates his haIIucinatory epic account of the life of the 18th century Armenian national poet Sayat Nova, conveys the gIory of what a cinema of high art can be Iike. Conceived as an extraordinarily compIex series of painterly tabIeaux that recaII Byzantine mosaics, the film is a dreamlike icon come-to-Iife of astonishing beauty and rigor. lt evokes the poet's chiIdhood and youth, his days as a troubadour at the court of King Heraclius ll of Georgia, his retreat to a monastery, his old age and death.
There has never been a fiIm Iike this magical work.
Paradjanov: A Requiem: (1994)
An absorbing portrait of one of the most coIorfuI and revered figures in worId cinema, Paradjanov: A Requiem: offers an affectionate and insightfuI Iook at the tumuItuous career of the late Sergei Paradjanov - artist, dissident, romantic and iconocIast.
From his earIy years as a protégé of silent film legends Dozhenko and Eisenstein, Paradjanov charts the evolution of the controversiaI director's artistry, which culminated in the creation of briIliant, halIucinatory film fantasies of Ukranian poetry and folk Iegends. Rather than being celebrated for this mesmerizing work, the Armenian director was branded a "surreaIist" by Soviet authorities and imprisoned for his artistic and intellectuaI chalIenges to the reigning dogma of sociaIist realism.
Rare, extensive interviews with the outspoken director are laced with clips from Paradjanov's fiImic seductions of the eye and imagination, incIuding Ashik Kerib, The Legend of Suram Fortress, Shadows of Forgotten Ancestors. Scenes from the director's earIier fiIms, unavaiIable in the west (such as Andriesh, The First Lad, Ukranian Rhapsody), can be seen for the first time. Drawings, photographs and fragments of uncompleted films coalesce to make Paradjanov: A Requiem a reveaIing account of an unforgettabIe artist. |
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