Die Altarwand

In this free adaptation of 'The Iron Candlestick', the first part of Dimitar Talev's celebrated trilogy, Todor Dinov and Christo Christov resort to a highly expressive visual style. They recreate moments of the National Revival period in Macedonia (end of 19th century), a time when the awakening began of the national consciousness of the Bulgarian people. Raphe Klinche, a confirmed Christian and wood-carver, is seen against the backdrop of a series of rites and rituals (childbirth, wedding, death) and major social events (replacing the Greek language by the Bulgarian in church services). He dreams to complete the iconostasis for the new church in the town of Prespa. The freedom-loving master-carver lives at a time marked by a revolutionary upheaval, but also by deep-rooted patriarchal traditions. All does not understand his art, and his love affair with Katerina becomes a victim of dogmatic way of thinking of Sultana who causes the death of her own daughter. Rafe is despondent, but senses the imminent onset of events of major national significance. This is a film about freedom-loving artist who is trying to discover the truth through beauty and is helping his fellow countrymen overcome their slavish submissiveness.

The Icon Stand reminded me a little of Andrei Rublev. Both are period films about an artisian of religious imagery during a troubling time. The Icon Stand is not as grand as Andrei Rublev, but it is also about half the length of the Tarkovsky film.

The Icon Stand follows a craftsman hired to make an icon stand for a small village church. The craftsman is not much of a believer and his dour quality and drinking of wine irritates the pious locals. When he falls for a local girl, more problems result.

I am unfamiliar with Bulgrarian/Greek/Turkish relations in the 19th Century, so some of the film's ending was lost on me. I also wish the film would have better set up the ending, which seems to come without much build up.

Nonetheless, the Icon Stand is an emotionally effective, downbeat film. It effectively carries the viewer away to the past, and some of the black and white photography is striking. The film may not be Andrei Rublev, but it is certainly well worth seeking out.