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 partly based on the life of the 18th-century Armenian poet Savat Nova, but more so it replaces the poet's image with verses. There is almost no dialogue throughout the film, primarily consisting of narration 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 film is filled with stunning moments from beginning to end, featuring poetic cinematic language, vibrant colors, uniquely balanced compositions, a sense of ritual and religion, and the showcasing of national traditional culture, all of which give the film an extraordinary and unconventional quality. 　　Film Review: 　　Attempting to summarize the content of this film in words is fundamentally a ridiculous idea, especially for those of us who cannot understand much about Armenian traditional culture and religion, and we can barely articulate the meaning provided by even a single detail. However, for such an outstanding film with a distinct style, if some viewers miss it simply because it cannot be adequately described, it would be an undeniable responsibility for our daily DVD review column. Therefore, despite the following text merely offering a visual overview and speculative gist that reveals the editorial author's superficial ignorance, we still present this DVD review for your reference and criticism. 　　I am a person filled with pain in life and in my heart. The color of pomegranates is the color of blood, carrying the wounds of a razor. 　　I grew up in a wealthy family, cherished by my parents since childhood. I lived in a diligent and gentle religious atmosphere, devouring books in a monastery. Our ethnic life is rich and colorful: women wash carpets barefoot, men dye threads into vibrant colors, we pay tribute to Saint George on a white horse, and through the bathroom window, I saw the most perfect breasts in the world. 　　I grew into a pale and handsome young man; while learning music, I fell in love with a girl for the first time in my life. She is the goddess of my life, and we search for ourselves in each other’s hearts. In a life rich and beautiful, all I gained was pain. We enjoyed courtly social gatherings, games, and hunting, but our hearts were filled with infinite emptiness. We sought a refuge for our love, but ironically, it led us down a road to the valley of death. How can I build a castle of love with wax, facing your blazing flame: you are fire, your clothes are fire; I am fire, my clothes are black. 　　In search of my solace, I visited every monastery, and I became a priest. Our father, our religious leader Lazarus, passed away, losing his most effective staff from the kind and authoritative father in heaven. I buried our spiritual father in the sanctuary—a funeral crowded with gentle lambs. 　　I seemed to return to childhood, to see my loving parents again, but a sudden gust of wind startled me awake from my dream. I saw everything clearly, strangely uncivilized. I understood that life had abandoned me, and I began my self-imposed exile as a wandering poet. 　　I am a person filled with pain in life and in my heart. Wandering on the land of my homeland cannot soothe my sorrow; I know that what awaits me in the end is death. 　　I left, guided by two little angels to the road leading to the valley of death. They did not forget to bring my xylophone, for perhaps I will sing for my father in heaven. 　　This vibrant, culturally rich, and intensely ritualistic film is one of the famous "poetic films" by the last genius director of the former Soviet Union, Sergei Parajanov. The film depicts the story of an 18th-century Armenian bard, and it is not a biographical film but a poem about the spiritual imagery of this poet. It employs extensive symbolism and metaphor, showcasing the 18th-century Armenian national character and the inner journey of this poet. Watching this film is not merely a viewing experience; it is a pilgrimage, a worship journey towards poetic spirit. 　　This DVD also includes a 20-minute documentary where Parajanov speaks about himself. Although we cannot see the full original 50-minute length, it is extremely beneficial for us to understand this genius. Regarding his work as a director, Parajanov said: “I believe you must be born a director; it is like ten childhood adventures.” 　　Additionally, a 10-minute still life "sketch" short film is worth watching. This untitled short (is there a title in Russian?) describes ethnically styled flower pots, chairs, men and women in ancient paintings, and slightly dilapidated buildings and sculptures in life. It is unclear what the director's intent was, but it reveals respect for traditional culture, mingled with a sense of loss over that culture being swallowed by time. 　　Director Background: 　　Former Soviet director Sergei Parajanov (1920-1990) presented only four feature films internationally in his lifetime, yet his unique visual style that combines poetry, painting, and folklore ensures he stands alongside Tarkovsky, becoming two remarkable phenomena in film history, shining brightly. 　　He is compared to Tarkovsky because their films are both poetic, incorporating Russia's traditional lyrical poetry into imagery, achieving visual poetry or poetic imagery. Furthermore, both were keen to adopt unconventional narratives. However, in terms of overall film style, Parajanov's work diverges further from tradition, being wilder and more inclined towards painting. 　　Parajanov's unique style derives from his Armenian heritage, the mythic legends of the Caucasus, and the intertwining religious spirits of Islam and Christianity, which serve as the source of inspiration for all his creations. His work revives the Caucasus steppes in a medieval context, subtly revealing an enchanted universe that is mysterious, eerie, and filled with strong ritualistic nature, where people and animals do not merely become sacrificial offerings. 　　These characters, who are wedded to the land, possess a solemn beauty under Parajanov's lens, appearing almost like religious icons in a painting yet losing their realism. Moreover, the psychology of all characters is not portrayed; the main character typically sways between sacrifice, obedience, and fervent pursuit of freedom, ultimately taking no actions and remaining passive, merely living and dying on the land, as Parajanov never describes the characters' experiences through continuous narrative. 　　However, Parajanov's films are closer to pictorial films or photographic films. The camera remains still, capturing a series of photo-like images that resemble medieval murals or collaged artwork, with all material presented on the same plane, lacking perspective and depth of field, as if confined within a frame, unable to escape outward yet appearing to extend infinitely beyond the frame. 　　Thus, it is evident that Parajanov is not only adept in filmmaking but also highly skilled in poetry and painting. He led a rich life as a poet, short story writer, painter, and director, producing a diverse body of work. A year after his death, the government of Yerevan in the Republic of Armenia converted his former residence into a museum open to the public, displaying his paintings, collages, manuscripts, furniture, posters, etc., showcasing his remarkable creative journey. 　　Born in Tbilisi, the capital of Georgia, in 1924, Parajanov's father was an antique dealer, and his mother was a local beauty. He attended a music school in high school to study vocal music and violin and participated in painting and mural courses while also acting in plays. Later, his drama teacher encouraged him to apply to the Moscow Film School (VGLK). In 1946, he was admitted to VGLK, where he studied under director Igor Savchenko. The following year, he and a group of classmates from Tbilisi were arrested due to their outrageous behaviors at night and suspicions of homosexuality—his first taste of imprisonment. Parajanov's rebellious nature made him, like many Soviet directors during the Cold War, frequently face false charges and imprisonment. 　　After being released the following year, Igor Savchenko recruited him as an assistant director for a new film and allowed him to direct a ten-minute segment. In 1951, he married a Tatar university girl in Moscow, but her family retaliated by killing her. Parajanov then moved to Kyiv the following year, joining the Dovzhenko Film Studio to co-direct two films. He finally directed his first feature film in 1958—a musical comedy about love. During this time, he entered into a second marriage with a diplomat’s daughter. In 1961 and 1962, he completed a feature each year, but these three films were not released outside Kyiv. 　　In 1965, the international film festival recognized Parajanov as a director for the first time. The year before, he had shot "Shadows of Forgotten Ancestors," based on a story by Ukrainian writer Mikhail Kotsyubynsky to commemorate his centenary, which premiered at the Mar del Plata festival, winning Best Director and Special Jury Prize, and was later selected for festivals in San Francisco, Rome, and Montreal. When the film premiered in a prominent Moscow cinema, the audience was appreciative but reserved, yet it did not lead to more extensive distribution. 　　Thereafter, Parajanov publicly supported intellectuals arrested by the authorities, ultimately putting himself in danger. In December 1973, upon returning from a trip to Moscow, he was arrested and interrogated by the authorities, leading to imprisonment. The Moscow film community learned about his arrest during Christmas, and the following year, European newspapers started reporting it; Parajanov was accused of "homosexuality" and sentenced to five years in a labor camp. Meanwhile, a pirated version of "The Color of Pomegranates" was smuggled abroad, drawing international attention, resulting in the European film community forming a support group for Parajanov, which pressured the Soviet Union. After French writer Louis Aragon's efforts, he was released three years later. 　　Subsequently, several of his filming plans failed to pass approval, plunging him into dire straits. In 1982, he was again arrested by the KGB in his hometown, accused of bribing officials with several jars of alcohol to allow his nephew to enter university, but luckily was released after more than six months in prison. In 1983, as Soviet politics gradually relaxed, he finally had the chance to shoot the 20-minute short film "Legend of Suram Fortress." This film participated in the Rotterdam Film Festival in 1986, receiving widespread acclaim. At this time, he had settled in Yerevan, and filming opportunities flowed continuously. The 1987 film "Achik Kerib" was invited to the London and New York festivals, and in 1988 he was allowed to travel abroad for the first time to the Rotterdam Film Festival. The late honor seemed somewhat bittersweet for him as he was nearing old age. In 1990, he died of respiratory complications in Yerevan. In July, his coffin was transferred to the Armenian Pantheon, where over fifty thousand people followed his procession. 二：About the Background Knowledge of This Film: 　　The Characters of this Film: Introduction to Sayat Nova 　　"The Color of Pomegranates" (1969), originally titled "Sayat Nova," tells the story of Nova, a famous 18th-century Armenian bard who, in his youth, was appreciated by the King of Georgia and summoned to the palace, becoming a court poet. In his later years, he became deeply religious, became a monk, and retreated to a monastery. Parajanov tells the audience at the beginning of the film: "Do not look for the life of Nova in the film." His cinematic method aims to visualize poetry, intending to present the lyric poet Valeir Brioussov's statement: "The poetry of medieval Armenia is the most brilliant victory carved into the spiritual history of humanity." 　　Supplement: The monk poet Sayat Nova (1712-1795) was born in a village near Tbilisi, Georgia, to Armenian parents working as carpet makers in Tbilisi (like Parajanov, he was born in Tbilisi). His birth name was Haroutiun Sayakian, and in his youth, he became a bard, active in Georgia, Armenia, and Azerbaijan. He was later referred to as "Sayat Nova" (King of Songs) by the Armenians. A more legendary aspect is that he fell in love with Princess Anna of the Georgian kingdom, leading to his banishment by the king. He spent his remaining days in a monastery in northern Armenia. Perhaps related to this film is that Sayat was killed by soldiers of the Persian kingdom invading Georgia.