The Color of Pomegranates

This film (drama)Also known asՆռան գույնը，is aSoviet UnionProducerwomen sex，At1969Released in year 。The dialogue language isArmenian, Azerbaijani，Current Douban rating8.7(For reference only)。

The film is partially based on the life of the 18th-century Armenian poet Savat Nova, but more significantly replaces the poet's image with verses. There is almost no dialogue throughout the film, primarily featuring voiceovers and the characters' soliloquies. It is impossible to summarize the content of the film in words, and everyone has the right to interpret it in their own way. The entire film is filled with stunning moments, with the poetic nature of the film language, vibrant colors, unique balance in composition, a sense of ritual and spirituality, and the presentation of national traditional culture all contributing to an extraordinary and unconventional quality of the film. Film Review: Attempting to summarize the content of this film with words is essentially a ridiculous idea, especially for those of us who cannot grasp much about Armenian traditional culture and religion, and we cannot fully articulate even one detail's meaning. However, for such a remarkably distinctive and outstanding film, it would be an undeniable responsibility for our daily DVD review column if some friends were to miss it due to its indescribability. Therefore, despite the following text being merely an attempt to provide a visual overview and general conjecture, revealing the editor's shallow ignorance, we still present a review for everyone's reference and criticism. I am a person whose life and heart are filled with pain. The color of pomegranates is the color of blood, carrying the wounds of a sharp blade. I grew up in a wealthy family, showered with my parents’ utmost warmth. Since childhood, I lived in a rigorous yet gentle religious atmosphere, immersing myself in books in the monastery. Our national life is colorful, with women barefoot washing carpets, men dyeing threads into various bright colors, and we paying homage to St. George on his white horse; through the bathroom window, I saw the most perfect breasts in the world. I grew into a pale and handsome youth, and while learning music, I fell in love with a girl for the first time in my life; she is my goddess, and we seek ourselves in each other's hearts. In the rich and beautiful life, all I received was pain. We enjoyed courtly socializing, recreation, and hunts, yet our hearts felt an infinite void. We sought refuge for our love, but ironically, it led us to the valley of death. How can I build a castle of love with wax when facing your fiery flame: you are fire, your clothes are fire; I am fire, my clothes are black. In my quest for refuge, I searched every monastery and became a priest. Our father, our religious leader Lazarus, passed away, and the kind and authoritative Father in Heaven lost his most capable staff; I buried our spiritual father in the sanctuary— the funeral was filled with gentle lambs. I seemed to return to my childhood, again seeing my loving parents, but a gust of wind jolted me awake from my dream. I saw everything clearly, strangely uncivilized. I understood that life had abandoned me, and I began my self-exiled life as a wandering poet. I am a person whose life and heart are filled with pain; wandering on the land of my homeland cannot ease my sorrow, and I know that what awaits me is death. I went away, guided by two little angels to the path leading to the valley of death; they did not forget to bring my xylophone, perhaps I will sing for my father in heaven. This vibrant, culturally rich, and intensely ritualistic and religious film is one of the famous "poetic films" by the last genius director of the former Soviet Union, Sergei Parajanov. The film tells the story of an 18th-century Armenian wandering poet; it is not a biographical film but a poem about the spiritual image of this poet. The film employs a large number of symbols and metaphors, showcasing the national character of 18th-century Armenia and the poet's inner journey. Watching this film is not just a viewing experience but a pilgrimage, a journey of worshipping the poetic spirit. This DVD also includes a 20-minute documentary of Parajanov's own narrative. Although we cannot see the complete picture of the original 50-minute work, it is extremely beneficial for understanding this genius. Regarding the director's career, Parajanov remarked, "I believe you must be born a director; it is like ten childhood adventures." In addition, a 10-minute still-life "sketch" short film is worth watching. This short film, whose title is unknown (is it in Russian? Original text), like a still-life sketch, depicts ethnically styled flowerpots, chairs, men and women from ancient paintings, slightly dilapidated buildings and sculptures from life. It is unclear what the director's intention is, but it reveals a respect for traditional culture while also expressing a sense of loss regarding traditional culture being devoured by time. Director Background: Former Soviet director Sergei Parajanov (1920-1990) presented only four feature films internationally during his lifetime, but his unique cinematic style, combining poetry, painting, and folklore, places him alongside Tarkovsky as two unusual and shining flowers in the history of cinema. He is compared to Tarkovsky because their films are poetic, integrating the lyrical tradition of Russian poetry into imagery, achieving image poetry or poetic images. Additionally, both directors enjoy using unconventional narratives. However, in terms of overall style, Parajanov strays further from tradition, being more wild and leaning towards painting. Parajanov's unique style comes from his Armenian heritage, the myths and legends of the Caucasus, and the spiritual essence intermingling Islam and Christianity, which serve as sources of inspiration for all his creations. His works resurrect the Caucasus steppes within a medieval timeframe, subtly revealing a magical universe that is mysterious, eerie, and filled with strong ritualistic qualities where humans and animals do not descend into sacrificial offerings. These characters, who nestle close to the land, possess a solemn beauty under Parajanov's lens, seemingly resembling religious icons in paintings but losing their photographic realism. The psychological portrayals of all characters are not depicted; the protagonists typically oscillate between sacrifice, submission, and a passionate pursuit of freedom, ultimately remaining inactive and unaccomplished, merely living and dying on the land, because Parajanov never narrates characters' fates through continuity. However, Parajanov's films are closer to painting films or photographic films. The camera remains still, capturing photographic-like images that resemble medieval frescoes or collage artworks, with all material presented on the same plane, lacking perspective and depth, as if enclosed in a frame unable to move outward, yet extending infinitely beyond the frame. It is evident that Parajanov is not only adept in cinema but also skilled in poetry and painting. Throughout his life, he was a poet, short story writer, painter, and director, with a rich array of works. A year after his death, the city government of Yerevan, Armenia turned his former residence into a museum open to the public, displaying his paintings, collages, manuscripts, furniture, posters, and more, showcasing his extraordinary creative journey. Born in 1924 in Tbilisi, the capital of Georgia, Parajanov had a father who was an antique dealer and a mother who was known as a beauty in the area. He attended a music school during high school, learning voice and violin while participating in painting and fresco courses, also taking part in theater performances; later, his drama teacher urged him to apply to the Moscow Film School (VGLK). In 1946, he entered VGLK, studying under director Igor Savchenko. The following year, he and a group of classmates from Tbilisi were arrested due to outrageous conduct and allegations of homosexuality—this was his first experience with imprisonment. Parajanov's rebellious nature led him to be frequently accused of baseless charges, like many Soviet directors during the Cold War. After being released the following year, Igor Savchenko recruited him as an assistant director for a new film and let him direct a ten-minute segment. In 1951, he married a Tatar university student in Moscow, but she was murdered by her family in retaliation. Parajanov moved to Kyiv the following year, entering the Dovzhenko Film Studio, where he co-directed two films. Finally, in 1958, he directed his first feature film, a musical comedy about love. During this period, he entered into a second marriage with a diplomat's daughter. In 1961 and 1962, he each made a feature film, but these three films were not released outside of Kyiv. In 1965, international film festivals first recognized director Parajanov. The previous year, he shot "Shadows of Forgotten Ancestors" (TENI ZABYTYH PREDKOVI) based on a short story by Ukrainian writer Mikhail Kotsiubynsky to commemorate his centenary, which won Best Director and a Special Jury Prize at the Mar del Plata Festival and was subsequently selected for festivals in San Francisco, Rome, and Montreal. When the film premiered at a large cinema in Moscow, audiences expressed both admiration and reservations, yet this did not lead to a broader release of the film. Thereafter, Parajanov repeatedly publicly supported intellectuals arrested by the authorities, ultimately putting himself in danger. In December 1973, he returned to Moscow from a trip and was immediately arrested and interrogated by the authorities, landing him in prison. The news of his arrest reached the Moscow film community during Christmas, and early the following year, this news was reprinted in European newspapers. Parajanov was charged with "homosexuality" and sentenced to five years in a labor camp. Meanwhile, a pirated version of "The Color of Pomegranates" was smuggled abroad, attracting international attention; the European film community formed a support group for Parajanov to pressure the Soviet Union, and after the intervention of French writer Aragon, he was released three years later. After that, several of his film projects were denied approval, and his life fell into hardship. In 1982, he was arrested again in his hometown by the KGB, accusing him of bribing officials with several jars of alcohol to secure his nephew's admission to college; fortunately, he was released after more than six months in prison. In 1983, as political conditions in the Soviet Union began to loosen, he had the opportunity to shoot a 20-minute short film "The Legend of Suram Fortress" (LEGENDA O SURAMSKOJ KREPOSTI). This film received high acclaim at the Rotterdam Film Festival in 1986. By this time, he had settled in Yerevan, with an abundance of filming opportunities. His 1987 film "The Poet Achik Kerib" was invited to film festivals in London and New York, and in 1988, he was allowed to participate in the Rotterdam Film Festival for the first time. The belated honors seemed tinged with bitterness for him as he entered old age. In 1990, he passed away in Yerevan due to respiratory complications. In July, his remains were moved to the Armenian Great Persons Memorial, with over fifty thousand followers accompanying his procession. Two: Introduction to the Background of This Film: About the Character: Sayat Nova Introduction "The Color of Pomegranates" (1969), originally titled "Sayat Nova," features Nova as a famous 18th-century Armenian bard who was once favored by the king of Georgia in his youth, summoned to the palace to become a court poet. In his later years, he became deeply religious and became a monk, retreating into a monastery. Parajanov informs the audience at the beginning of the film: "Do not look for Nova’s life in the film." Through cinematic methods, he visualizes poetry, aiming to present what lyrical poet Valery Bryusov stated: "The poetry of medieval Armenia is carved into the universe's history, a brilliant victory of the human spirit." Supplement: The monk poet Sayat Nova (1712-1795) was born near the village of Sanahin, close to Tbilisi, to Armenian parents who wove carpets in Tbilisi (like Parajanov, who was also born in Tbilisi). His original name was Haroutiun Sayakian. In his youth, he became a wandering poet, active in Georgia, Armenia, and Azerbaijan. He was latterly named "Sayat Nova" (the Song King) by the Armenians. Legend has it that he fell in love with Princess Anna of the Kingdom of Georgia, which led to a royal decree banishing him. He spent the remainder of his life in a monastery in northern Armenia. Notably, it is said that Sayat was killed by soldiers of the Persian kingdom invading Georgia.