Search results for 'Shadows of Forgotten Ancestors'

“Shadows of Forgotten Ancestors:” Merry Christmas to Old Calendarists

7 Jan

Shadows churchScene from Sergei Paradzhanov’ “Shadows…”

“Shadows of Forgotten Ancestors:” Merry Christmas to Old Calendarists

Ivanko (Ivan Mykolaychuk) and Marichka (Larisa Kadochnikova) in one of the most beautiful shots, Christmas in church, of the beautiful film Shadows of Forgotten Ancestors.  It’s maker, Sergei Paradzhanov, was forgotten for decades largely for having spent time in Soviet prisons for “social” crimes.

I’d written a post about him before (below).  Also read about Hutsuls, the Ukrainian sub-ethnic group of the Carpathians and their – what I like to call — High Folk Civilization.  Paradzhanov was clearly in love with the milieu — and the boys.  In fact, he was a little bit of a shithead.  He’d borrow embroidered shirts and heirloom vests and beaded headresses for the productions and then never return them.

Thankfully they’ve been restored and are available on a Blu-Ray package and Amazon Prime. I know, I tried not to go there, but they have a fucking monopoly on everything).

Jadde’s homepage photo: Sergei Paradzhanov

12 Nov

I had thought that maybe I would permanently keep the photographs that I first posted on the blog’s homepage when I started it (Turkish refugees from Rumeli in turn of the century Istanbul and adorable kids in Samarina in 1983), as sort of a trademark, or what obnoxious “Ok, millenials” call a “meme” — which is just a mystified/jargonized term for what used to simply be called an “image”.  But when you don’t have any new ideas, you make up fake new words to cover for the fact.

Then I saw footage from a Paradzhanov film that I love, and remembered that he’s among my two or three favorite directors.  It’s strange that I hadn’t thought of him before, because he was essentially obsessed — possessed would not be an exaggeration — with the visual beauty of our parts, of the Jadde world.  He was almost an our parts pornographer, in the most beautiful sense of the word, fixated on the image of our cultures’ physical (and I mean that sexually) and male and material beauty, more interested in the fetishized gaze and tableaux than in editing or the syntax of cinema.  In our world today, where cinematic and video language has been so perverted and debased that the average viewing time between editing cuts is less than three seconds — we’re kept watching by the fact that we’re not allowed to actually look at anything — Paradzhanov granted us the delicious luxury of lingering over every beautiful detail his cinematic mind generated.

So, I decided that every month I’m going to change the homepage pic with one from his various films.  This one is from his 1969 The Color of Pomegranates, widely considered his masterpiece, though it’s not my favorite.  That would be his 1965 Shadows of Our Forgotten Ancestors, though Pomegranates is without a doubt a beauty.

Hope you enjoy them as much as I like to watch them and post the stills.  Unfortunately, the crappy greenish Soviet color film stock they were shot in and the abysmal curatorial conditions these films were kept under for so many decades means that some of the stills will be soft or just not of optimal quality.  But I hope you enjoy them anyway and look out for opportunities to see them, and hopefully on a real screen and not your Mac…

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Comment: nikobakos@gmail.com

New header image from Sergey Paradzhanov’s “Shadows of Our Forgotten Ancestors” — Тіні забутих предків

26 Dec

See previous posts on Paradzhanov and “Shadows…” and his other films.

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New header image: Paradzhanov’s “Shadows of Our Forgotten Ancestors”

25 Nov

The new header image is a production still from the filming of Sergei Paradzhanov‘s Shadows of Our Forgotten Ancestors / Тіні забутих предків), 1965. This is one of my ten — or maybe even five — all-time favorite films. It’s a half Romeo and Juliet, half Wuthering Heights, full of eternal love, and cool stuff like frustrated desire, obsession and death.

The other pleasures this film offers is entirely ethnographic; Paradzhanov, a Soviet Armenian filmmaker from Tbilisi, Georgia, was completely enthralled with the material culture, music, languages, and human (especially male) beauty of the Caucasus and Anatolia. Elsewhere — probably when I’ve used pictures from his films as header images before — I’ve referred to him as an “our parts” pornographer. He really had a fetish for his cinematic object, and though we use “fetish”, usually, to describe something unhealthy, it might be better to just accept it as a point on the broader spectrum of object relations.

In Shadows… Paradzhanov moves from his home territory to the Ukrainian sub-ethnic group of the Hutsuls (Гуцулы/Гуцули), that live on the Ukrainian side of the Carpathian mountains in the far west of the country. (I’m sure his appreciation of male beauty was sated there as swell.) The Hutsuls have one of the most richest High Folk Civilizations of Europe: clothes, dance, music, handicrafts — they’re also the people that make those famous Ukrainian Easter eggs you might have heard tell of. In fact, Paradzhanov was kind of a prick when the film was being filmed: he would borrow heirloom items for the shoot from the local inhabitants and then never return them.

Shadows… may be my favorite Paradzhanov film. It’s his most cinematic film, meaning it has the most conventional visual and cinematic narrative — cinema comes from Greek kinema (κίνημα), which means movement. After Shadows…, which put him on the map cinematically, he turned to extreme long shots and extreme long takes of static tableaux; they’re beautiful, but sometimes they try even my patience.

For example, from Color of Pomegranates / Նռան գույնը / ბროწეულის ფერი / Цвет граната (1969):

…and The Legend of the Suram Fortress / ამბავი სურამის ციხისა (1985):

…and Aşık Kerib / აშიკ-ქერიბი (1988):

Color of Pomegranates in 1969 and The Legend of Suram Fortress in 1985What was he doing for twenty plus years? you ask. Well, he was arrested several times between 1973 and 1982, a period during which his previous films were prohibited, for “sexual crimes”, i.e. homosexuality, along with “rape and bribery” — probably trumped up charges. Only when censorship in the Soviet Union started to ease up during the Gorbachev years was Paradzhanov allowed to make films again.

The header photo is not a scene from Shadows… though. It’s a production still, a lovely photo of two Hutsul children watching the filming.

Here are the famous Easter eggs:

I’ll post a collection of cool Hutsul photos I came across in separate post.

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Write us: with comments or observations, or to be put on our mailing list or to be taken off our mailing list, contact us at nikobakos@gmail.com.

Photos: Hutsuls!

25 Nov

Some cool photographs I stumbled on of the Hutsuls of the Ukrainian Carpathian highlands (some live on the other side in Romania too), taken between 1918 and 1935. They are described in “New header image: Paradzhanov’s “Shadows of Our Forgotten Ancestors”. If you’re wondering why these Ukrainians look both so traditional and relatively happy and healthy, it’s because western Ukraine was part of Poland at the time, and though Polish rule wasn’t necessarily that benign for the Ukrainian, non-Catholic minority in that country, it was obviously, no-discussion better than the Leninist-Stalinist-Bolshevik reign of terror and deliberately induced famine that central and eastern Ukraine endured as part of the Soviet Union, and in which some 10 million — by conservative estimates — Ukrainians and Russians starved to death. Western Ukraine became part of the Soviet Union only in 1945, when Stalin annexed the eastern part of Poland, while Poland was given part of eastern Germany.

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Write us: with comments or observations, or to be put on our mailing list or to be taken off our mailing list, contact us at nikobakos@gmail.com.

New Header Image: Sergei Paradzhanov’s “Color of Pomegranates”

31 Aug

Though he had made a name for himself with Shadows of Our Forgotten Ancestors (1965) earlier than Color of Pomegranates (1969), it was with the latter that S.P. first unveilled his particular style of almost still life tableaux — one after the other. So much so that it’s almost hard to call it cinema: “cinema” is Greek for movement, and nothing much moves in most of his films. But they’re insanely watchable.

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Write us: with comments or observations, or to be put on our mailing list or to be taken off our mailing list, contact us at nikobakos@gmail.com.

Jadde’s homepage photo: Sergei Paradzhanov

12 Nov

I had thought that maybe I would permanently keep the photographs that I first posted on the blog’s homepage when I started it (Turkish refugees from Rumeli in turn of the century Istanbul and adorable kids in Samarina in 1983), as sort of a trademark, or what obnoxious “Ok, millenials” call a “meme” — which is just a mystified/jargonized term for what used to simply be called an “image”.  But when you don’t have any new ideas, you make up fake new words to cover for the fact.

Then I saw footage from a Paradzhanov film that I love, and remembered that he’s among my two or three favorite directors.  It’s strange that I hadn’t thought of him before, because he was essentially obsessed — possessed would not be an exaggeration — with the visual beauty of our parts, of the Jadde world.  He was almost an our parts pornographer, in the most beautiful sense of the word, fixated on the image of our cultures’ physical (and I mean that sexually) and material beauty, more interested in the fetishized gaze and tableaux than in editing or the syntax of cinema.  In our world today, where cinematic and video language has been so perverted and debased that the average viewing time between editing cuts is less than three seconds — we’re kept watching by the fact that we’re not allowed to actually look at anything — Paradzhanov granted us the delicious luxury of lingering over every beautiful detail his cinematic mind generated.

So, I decided that every month I’m going to change the homepage pic with one from his various films.  This one is from his 1969 The Color of Pomegranates, widely considered his masterpiece, though it’s not my favorite.  That would be his 1965 Shadows of Our Forgotten Ancestors, though Pomegranates is without a doubt a beauty.

Hope you enjoy them as much as I like to watch them and post the stills.  Unfortunately, the crappy Soviet color film stock they were shot in and the abysmal curatorial conditions these films were kept under for so many decades means that some of the stills will be soft or just not of optimal quality.  But I hope you enjoy them anyway and look out for opportunities to see them, and hopefully on a real screen and not your Mac…

Color of Pomegranates 2_DxO

Comment: nikobakos@gmail.com


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