Ararat

A film within a film within a film that plays out through a myriad of interconnected stories sewn into a giant multi-colored tapestry. The so called "Armenian holocaust" is the fabric from which director Egoyan spins his narrative, and this event so heavily laden with emotional baggage, becomes almost impossible to approach with intellectual objectivity. The lines between fact and fiction are constantly blurred as in a scene where the protagonist walks onto a movie set about the "holocaust" and one of the characters scolds her, not as an actor, but as a very real character from that time. At times this constant commingling loses focus, but Egoyan's heartfelt attempt to bring back the dead through his art imitating art approach, succeeds surprisingly well. Although the "holocaust" is shown graphically, Egoyan is aware that we connect most deeply with that to which we can all relate, and this is shown right from the start as an artist attempts to transfer his childhood memories of murdered loved ones to a painter's canvas; the details of a mothers dress . . . the skin of a mothers hand . . . her fingers knitting a quilt. The vivid colors and simple reality of that hand are so compelling they can reach out across decades of despair to caress the forehead, reduce fever, and impart a sense of belonging - a reason for being. From this inauspicious beginning, Egoyan is able to arrive at a much greater truth: the inherent need for human beings to believe in something - whether or not that belief is grounded in reality or can be proved scientifically. Finally, ARATAT concludes with a simple truth that is just as powerful: the immeasurable but often neglected joy at being able to look upon our loved ones and to hold them in an embrace of life.

I'm not a great fan of Egoyan, but I did find Felicia's Journey fairly competent. This last attempt (Ararat) is a sacrilege, a clumsy blundering mess of a film and a huge disservice to the Armenian people. If I were Armenian, I think I'd be very offended.

In 1915, Turkish forces attack Van and its Armenian inhabitants in eastern Turkey. Clarence Ussher is an American missionary doctor who witnesses and later writes about the destruction. Arshile Gorky is an artist who loses his family and escapes to America. Ani (Arsinée Khanjian) is a modern day professor, and an expert on Gorky and his painting of his mother. Edward Saroyan is directing a film about Van and hires Ani intending to incorporate Gorky into the story. Ani is facing trouble at home. Her son Raffi (David Alpay) is rebelling and sleeping with his step-sister Celia (Marie-Josée Croze). Celia blames Ani for the death of her father. Raffi decides to go to Turkey. When he returns, he's stopped at customs by David (Christopher Plummer). David has family problems of his own. In Saroyan's film, half-Muslim Ali (Elias Koteas) plays the cruel governor Jevdet Bey and Martin Harcourt (Bruce Greenwood) plays Ussher.

Tackling the Armenian Genocide is a tricky matter. Director Atom Egoyan does it by entangling with many issues of art, history and truth. It is a very commendable effort diving deeper than a simple reenactment which the character Saroyan does in the movie. I love every scene where these issues are touched on. I do wish Raffi is played by a more compelling actor. I love Croze but her character adds an unnecessary layer. Her character is struggling with her father's suicide. That emotional conflict is too similar to Raffi's father's death from attempting to assassinate the Turkish ambassador. Raffi and Celia could easily be combined into one character. I would actually keep Croze who is the better actor of the two. With such complex emotions, the cast of characters would be better off with some minor trimming. The same goes for David's family. The movie needs a little bit of emotional trimming.

A terrific rough style cast in a story about denial and the truth of living in denial. At first, I thought the movie was about the Armenian Genocide, but its not. It's about a families struggle in the present day world trying to live knowing that the genocide is their past. Many interesting characters are introduced throughout the story. The plot thickens as characters appear in the movie and the movie within the movie. The issue about denial is stronger than the truth. The issue about Turkey is made many times and is the last thing we see at the end of the movie, still, this is not a movie about the Genocide and Turkey's true intentions, its about the aftermath and the denial that becomes the truth.

At the first time when I saw `Ararat', I was strongly impressed. To say the truth there were some parts of the film which were ununderstandable for me, after I watched that movie for several times and could understand it at all and create my own viewpoint.The scenario was a real chaos, and the characters were not chosen right. The example of this is Raffi (a puny guy). Finally, I think Egoyan tried to introduce genocide in some way that the audience that knows nothing about armenians and armenian genocide could understand and be sorry for armenians. However, I don't think he really succeeded in this stuff, because Egoyan created this film from the standpoint turks are bad human kind. It's wrong in some points. I agree that at that time of history, there was an awfull religion-fanaticism and turks did awfull things, but their generation is not as responsible for that as we suppose. On the other hand I am sure there was a real genocide and generally all armenians are sure, cause of our ancecstors stories. And I am sure no one could socialise with the people who could do that. However I am not going to create my future on the idea there was an armenian genocide and turks are murders. This is a wrong point of view. Of course, there is a pain and the pain will always be there in the armenian-man's heart, as our mothers were raped, our fathers were killed, our brothers and sisters were procured from our mothers abdomen and killed not even born. But armenians should live by the future, not by the past and so must do turks. Noone is guilty, maybe just some persons who were alive at that period of time but not now.