Ashug-Karibi

Another odd, exotic fable from the Soviet Union's most enigmatic filmmaker, set this time in a storybook past where, to win the hand of his true love, a penniless minstrel is forced to wander for a thousand days in search of wisdom and enlightenment. Parajanov is one of the leading figures in his country's so-called 'poetic cinema movement', which means his films are crude, heavily stylized rites of passage, thick with symbols and anachronisms. The naive, almost primitive formality recalls both the ancient, ritual folklore of its Central Asian setting and the cheap conventions of early silent film melodrama, with the Georgian voice-over narration (added on top of Parajanov's post-dubbed Azerbaijani dialogue) giving the film an added level of weirdness. On his magical quest the lovelorn troubadour encounters a blind wedding party, a despotic sultan with a toy machine gun toting harem, a pantomime tiger, and survives various other trials and tribulations, all to a nerve-racking background of wailing Middle Eastern music.

mixture of parable and fairy-tale, expression of Parajanov art, it is naive, seductive and strange. like an Oriental carpet. labyrinth and search of life sense. a love story in old Caucasian traditions, laws and rules. it is not a surprise. only a kind of last will. and a declaration of freedom for a new world. amusing, it is a lesson about a world. precise, it is trip in heart of a manner to understand existence. mystic, it is a speech about passion, sacrifice and ideal. small window to a garden of beauties, it is story of a young man who desires conquer the trust of his girl friend father. so, not the story is real important in this case. but the spell of images. the flavor of delicate and strong spices of a brave art maker.

Sergei Parajanov's final completed film is based on Mikhail Lermontov's short story about a poor minstrel who must travel for 1,000 days before he is allowed to marry the daughter of the local ruler. Like Parajanov's earlier "Color of Pomegranates", "Ashik Kerib" (which Parajanov dedicated to his friend Andrei Tarkovsky) makes ample use of the visuals and goes long periods without speech. Basically, it tests your attention span; a far cry from Michael Bay's movies.

I wouldn't go so far as to call this movie a masterpiece, but I like that it shows us a culture that we don't often get to see. The culture in this case is Azerbaijan. Parajanov had focused on Armenia with "The Color of Pomegranates", and Ukraine and Georgia with other movies. His refusal to incorporate socialist realism into his works caused friction with the Soviet authorities (as did his bisexuality).

In the end I recommend "Ashik Kerib". I wonder where Parajanov's career would've gone had he lived longer.

Ashug-Karibi (1988) was shown in the U.S. with the title Ashik-Kerib. The film was directed by Sergei Parajanov. (David Abashidze is listed as co-director.) The title literally means "The Strange Lover." The movie is called a Georgian or Russian movie, but it was produced in Azerbaijan. (Azerbaijan was under Soviet rule until 1991.)

The hero of the film is a talented but poor musician, who plays the traditional stringed instrument the saz (baglama), which looks and sounds like a small lute. The hero is in love with the daughter of a wealthy merchant, and she with him.

However, her father demands that she marry someone with wealth. It's agreed that the minstrel has 1001 days to make his fortune and return home to marry the young woman. That's the plot--the hero leaves his home and the rest of the film is a road movie that follows him in his travels.

This would be a fairly standard film device if Parajanov's style were like the style of other great directors. However, his style is unique. He shows us colorful paintings, dancing, and we hear Azerbaijani music. We see tableaux and he used intertitles. Color is at the center call the movie. "Colorful" doesn't capture the absolute riot of colors that we see.

This is a film that would work better on the large screen than on the small screen, but we watched it on DVD. It has a strong IMDb rating of 7.4. I thought it was better than that, and rated it 9.

P.S. Parajanov spent years in jail because of "crimes" he committed. His real offense was that he refused to make Soviet Realism films. These authoritarian officials deprived Parajanov of his liberty and deprived the world of his talent.

I've seen all four of Parajanov's well-known films (Shadows of Forgotten Ancestors, The Color of a Pomegranate, The Legend of Suram Fortress, and this), and I have to say that this is one of my favorites.

Some people have said that this is a "minor" work, and that you can see evidence of a tight budget. I'd disagree with both of them. Perhaps it IS a minor work in that it is less serious than Parajanov's previous films, but it is tremendously fun to watch! The film whisks the viewer away to a fairy-tale world full of expansive landscapes and golden riches. The costumes and decorations are beautiful and the music is absolutely gorgeous (Parajanov hired a composer from the region to create the music for this film; the result is one of the best movie scores I have ever had the pleasure to listen to. It's folk music, yes, but it's folk music lifted to the realm of high art; the music almost makes this movie worth seeing just by itself).

As for evidence of a tight budget... who knows? Perhaps the magnificent illusion is standing on thin ice sometimes, but the ice never breaks, which is the important thing; you never SEE that Parajanov was working under a tight budget, although sometimes you get the impression that you maybe WOULD see if the camera zoomed out just a little bit. He does use a lot of paintings to illustrate some events, but in my opinion this only adds to the film's extremely rich atmosphere.

Without giving too much away, I'll say that the film has a story based on an old Eastern legend, and it progresses in episodes, much like "Legend of Suram Fortress". It is one of the peculiarities of Parajanov's style that his films do not depend on the credibility of the story or the characters (although the actors in this film are quite good); this is a fantastical fairy tale, and we understand when watching the film that fairy tales have their own sense of logic.

Although "Color of a Pomegranate" remains at the top of my list of favorite films by Parajanov, "Ashik Kerib" is a delightful movie and probably the best one to start with for new-comers to this director. Watching it is in truth more like watching a musical, ballet or folk-dance than watching a film. There is a lot of excellently choreographed dancing in the film, along with excellent artwork and excellent music. If you have an interest in any of those fields, you will probably love this film.

Now as for where to get it... there are currently 2 DVDs available on the market: a KINO 2-in-1-DVD featuring Ashik Kerib and Legend of Suram Fortress and a RusCiCo DVD featuring just Ashik Kerib. I advise that you get the RusCiCo DVD despite the fact that it's only slightly less expensive than the 2-in-1 KINO DVD, because the video quality on the KINO DVD is quite bad. If you want to see HOW bad, go to a website called "DVDBeaver.com" and see their DVD comparison of the two versions of Ashik Kerib; whereas RusCiCo's version is sharp with bright colours, KINO's version is blurry with muddy colours and unremovable green subtitles.

This is unfortunately the only Parajanov movie that is currently available in a decent DVD release; "Color of a Pomegranate" is only available in a KINO DVD with transfer as bad as in "Ashik Kerib"'s, and "Legend of Suram Fortress" is available in the blurry KINO 2-in-1 DVD, as well as in a RusCiCo DVD with sharp image quality but an unremovable Russian voice-over (not dubbing; it's basically one Russian voice translating what the people are saying while the audio in the background becomes quieter). "Shadows of Forgotten Ancestors" is not available on DVD at all, to the best of my knowledge.

If you liked this movie, I'd also recommend "The Adventures of Prince Achmed" (the world's first animated film, made in 1926 using only shadow puppets and tinted backgrounds and based on tales from Arabian Nights) and perhaps "The City of Lost Children" (a 1995 French film that creates its own dark fairy-tale universe).