Pentimento

This is a very good film. It works on several levels. I don't know whether this was intended by it's authors or no, but the general outline of the film has obvious Alice in the Wonderland (or Through the Looking-Glass) allusion. The confectioner woman imagines (or dreams about) a story of revenge and justice (a real cruel fairy tale adventure full of evil and good characters, colorful and strange images) and as in `Alice' right when the story gets kind of `out of control' (grandson kills himself with grandfathers riffle, son digs out the corpse of his father.) we get back to the cosy room of confectioner, from where our adventures to the past and future have begun.

It was really interesting to see the story of Totalitarian regime through this `fairy tale' angle. They make a lot of films that are meant to be much more historically precise than `Repentance', but most of them are flat and look more like TV dramatizations of some definite actual events than the works of art. And `Repentance' is an art-film in a very good sense of this word.

The closing sequence of Old Woman walking up the street (looking for the Temple - justice, freedom, happiness?) accompanied by heavenly classic music is one of the most beautiful film episodes I've ever seen.

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 me, as viewer from East, in 1990 , it was an revelation. not as cold portrait of totalitarian regime. not as page from the indictment against the Communism.but as reflection of its essence. a film who reflects and reminds the history of Europe. using a memorable character who has the gift to seduce and horrify. Varlaam is the image of a system. and not it is the subject in fact but the testimony who defines the others. a film about redemption and about memory. about the change and about the rules of dictatorship. extraordinaries images. and the hill of the Abuladze's fight for his art. it is easy to discover it as a beautiful, profound, philosophical film. but, in fact, it is only a testimony about a world's survive. not a parable. not sketch of a cruel regime. but a form of remember of people, values, sacrifices and the empty body of a dictatorship. for me, in 1990, it was a revelation. and, today, it has the same status. because, more than a story about evil, it is a warning about the importance of decision.

Joseph Stalin's purges were one of the most horrific chapters in Soviet history. A famous movie about this period is Nikita Mikhalkov's "Burnt by the Sun". An equally important one is Tengiz Abuladze's "Repentance". This one emphasizes not only the terror visited upon the population, but the efforts to expose the truth and prevent whitewashing of those who committed the genocide. The subject is a man who shares physical similarities with Hitler and Stalin, but is based on Lavrentiy Beria (one of Stalin's acolytes). As mayor of a town in the Georgian Soviet Socialist Republic, he doesn't hesitate to persecute those whom he deems disloyal. Years later, a woman goes to unusual lengths to reveal the truth about his handiwork.

Not surprisingly, the movie couldn't get released immediately. It wasn't until after Gorbachev came to power that it got a release. I'd say that the ugly parts of history are more important to know about that the pleasant parts of history, to ensure that they don't get repeated. I understand that Beria was particularly vicious.

We don't get to see many movies from Georgia. I wish that I could see more of them. Part of it is that I like getting to see cultures that we don't often get to see, but I would also like to have more insight into their perspective on things. As the 2008 war made clear, Russo-Georgian tensions didn't end with the collapse of the Soviet Union.

Anyway, it's an outstanding movie. While it is a bit long, the plot makes up for that. I recommend it.

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.