Die Reue

This wonderful Georgian film emerged from the last years of the Soviet regime, but seems to have disappeared without trace. The final film of a trilogy by the veteran film-maker Tengiz Abuladze, it portrays a composite monster, Varlam (Hitler moustache, Mussolini shirt & braces, Stalin boots, Beria pince-nez) and his equally grotesque son Abel, both played by the same actor.

The film has a surrealist, dreamlike quality about it, framed by initial and final scenes in a cake-shop and with police almost comic in medieval armour. The main actions which initiate the plot are surrealist with the repeated exhumation of Varlam's corpse. The two monstrous central characters are no more than mayors of a small Georgian town - but there is nothing comic about their actions and the reign of terror they bring to the community. The elements of tyranny are revealed economically, with hints of atrocities and disappearances but only one brief torture scene. The overall message is that of personal responsibility. The tyrannical regime is not an anonymous bureaucracy but the deliberate creation of evil men. And the final repentance is a horrific recognition of those responsibilities. An unmissable film, beautifully made and superbly acted - if you can find it.

My only complaint about Tengiz Abuladze's REPENTANCE (English title) is that I am uncertain what was real and what was fantasy. However, since this was undoubtedly his intention, I cannot properly call it a complaint. Outside of David Lynch films, I have never seen more perfectly executed dream imagery than that of REPENTANCE; the beauty of these sequences is accentuated by the surreal atmosphere of the various dreamers' waking lives. The cast is uniformly excellent, the premise unique, and much of the dialogue resonates with beauty, despair and universal truth, often mingled with humor. No character is utterly devoid of sympathy, nor is any character entirely sympathetic. All is ambiguous, just as it is in our own so-called "reality".

This film was absolute genius and, in my opinion, one of the best films produced in the 20th century. It is on par with films like the Seventh Seal and Schindler's List in terms of symbolism and philosophy. The only way one can not like this film is if one does not understand it- which is quite possible, if one is only haphazardly watching it and is not fully engaged, or is expecting the film to chew up the messages for you and give you something simple you can quickly take away without actually appreciating the movie- then this is the wrong film for you. In order to properly appreciate this film you have to engage in higher philosophical thought and reflect both on the lives of individuals of the Stalinist era as well as your own era, since this movie is timeless. It explores human nature at its basest level, and what causes humans to act in the ways they do.

For the first time I've seen this movie in 1988 under, rotting and toothless, but still red regime in little movie in Bytom, Poland. Without subtitles but only with man reading the dialogs from the book. Atmosphere was tensed and with the taste of conspiracy. This time Pokajanije was for me thrilling experience with breathtaking performance of Macharadze and Ninidze. Once again I watched it in TV few years later and I've found a little dated and emasculated in uncovering communist's crimes. But still it was great cinematic, beautifully filmed experience. Now, I've ordered DVD in dvdplanet (it's still unavailable in Poland) and I'm really curious for my nowadays impression.

25 dec 2004

Today I've watched the movie once again after the reading of Montefiore's book "Stalin - the court of the Red Tsar. In this book I've found the story of Kawtaradze family. Sergo Kawtaradze, old revolutionist and comrade of Stalin during the great purge, in 1936 was arrested with his wife Sofia. Both were cruelly tortured in Lubianka. Daughter Maya, 11 years old, wrote many letters to Stalin, begging for the parents' life. After 3 years of imprisonment Kawtaradzes were freed but still in danger of arresting again. Few weeks later suddenly at 6 AM Stalin & Beria came to Kawtaradzes. Stalin kindly spoke with daughter Maya. In her memories she wrote that he was charming and kind. He also sang a song with "pleasant tenor". They also ate dinner (Stalin ordered it in the best georgian restaurant in Moscow, Aragwi. I'm sure that episode in the movie when Warlam and Doxopulo visits Sandro's home is loosely based on this event

The movie starts with a newspaper obituary recording the death of Varlam Aravidze, the mayor of a town in Georgia. We're then shown what has happened in the town in the past when Varlam was mayor. He's nominally a communist type, however it's made pretty clear that his stripes, and the stripes of all Stalinists, are feudal. This is shown, for example, by having the police of the town dressed as mediaeval knights. It's an idea explored in Iosseliani's Brigands too, that Russian rulers have been a succession of crazed autocratic knaves.

At one point in the film Varlam plaintively quotes from Shakespeare's sonnet 66:

Tired with all these, for restful death I cry, As, to behold desert a beggar born, And needy nothing trimm'd in jollity, And purest faith unhappily forsworn, And gilded honour shamefully misplaced, And maiden virtue rudely strumpeted, And right perfection wrongfully disgraced, And strength by limping sway disabled, And art made tongue-tied by authority, And folly doctor-like controlling skill, And simple truth miscall'd simplicity, And captive good attending captain ill: Tired with all these, from these would I be gone, Save that, to die, I leave my love alone.

Which is a harangue against everything he stands for. He's a man who has knowingly chosen to do wrong, a comedian who has turned his fiefdom into a comedy of terror. At one point he arranges for his son to jump out of a second story window to shock his captive audience, but in fact the boy is caught below. He surrounds himself with illiterate sycophants whom he brings into and out of favour arbitrarily, arranges for people to be arrested and benevolently releases them when complaints are made. In the end however he's merely a snake playing with its live food before devouring.

Varlam arranges for people to be exiled, presumably to Siberia although we're not told. One day a shipment of logs arrives on the outskirts of town. They have been logged by the kidnapped men of the town. Each survivor has carved their name into the end of the timber. Women from the town trudge around the muddy lumberyard looking for their husbands' names, looking for proof of life for men denied the right of correspondence. This is the most powerful scene in my opinion.

There are also a number of dream scenes and very surreal scenes that are very appealing in their artistry, which I leave the reader to discover for themselves.

Varlam is, as has been pointed out, a concoction of dictators (superficially containing elements of Hitler, Mussolini, and Stalin), but may well, in more concrete terms be based on a real life figure, Georgian-born Lavrentiy Beria, a man more unpleasant than the imaginations of most can conjure up. He was Stalin's chief murderer, a sexual sadist who performed unimaginable feats of depravity, he also briefly participated in the running of Russia as part of a "troika" after Stalin's death. The film does not dwell on the huge depths of his depravities, as the acts he performed are unspeakable and unfilmable. The film is a quiet but firm indictment however of Stalinist politics, of the manipulation and double-think and an ode to Georgian culture.

The purpose of the film is to not let Beria, or more generally the authoritarians of the time, rest in peace; to act as testament to the cruel depravities of the Stalinist era.

In my opinion it's absolutely unmissable.