Tulpan: la ragazza che non c'era

Any film that depicts cultures that are mostly unknown here in the west are always a welcome one for me.Kazhak film maker, Sergei Dvortsevoy's 'Tulpan' is another one of those cinematic open windows. This gentle fable concerns a young man named Asa,who has just been released from the Russian Navy,and yearns for a wife,so he can be a right & proper shepherd. The fact that there are a lack of young women presents a problem. Asa,with the help of his friend tries to convince the parents of the last young woman,Tulpan (whom we never see on camera),that he is the man for her. Tulpan's parents are not impressed with Asa's tall tales & tells Asa that his ears are too big. Asa lives with his sister,Samal,her mean,brutish lout of a husband,Ondas & their three children. There are several sequences of Asa & Ondas dealing with the on going problem of lambs being born dead,as well as other problems. Sergei Dvortsevoy,who is generally known for his documentaries,directs & co writes (with Gennady Ostrovskiy)his first fictional film that still manages to convey a documentary feel. The unvarnished photography of Jola Dylewska depicts the harsh & breathtakingly beautiful landscape of the Kazakh steppes. Does Asa ever manage to get to Tulpan to ask for her hand in marriage? It's up to you to find out the answers to this & others. Comparisons to films such as 'Nanook Of The North',as well as 'Atanarjuat:The Fast Runner' will pop up. Spoken in Kazakh & Russian with English subtitles. Not rated by the MPAA,this film contains some profanity & some scenes that could upset young children involving an on screen birth of a lamb,and some dead lambs depicted on screen.

Winner of the Un Certain Regard award this year at the Cannes Film Festival, the fast disappearing world of nomadic sheep herders in Kazakhstan is dramatized in the part fictional, part documentary film Tulpan. Directed by Sergei Dvortsevoy, Tulpan is the story of an ex-sailor seeking to marry the only available woman in the area to fulfill his dream of tending his own flock. The narrative, however, is secondary to the dramatic on-camera birth of a lamb and the spectacular scenery of the steppes. Much of the film takes place in the tent house called a yurt that is shared by Asa (Askhat Kuchinchirekov), his brother-in-law Ondas (Ondasyn Besikbasov), his older sister Samal (Samal Yeslyamova), and three children.

The smallest boy is an absolute delight running and shouting as he plays with sticks and his pet turtle. His older brother has the uncanny knack of repeating the news broadcasts he hears on the radio word for word, reciting recites them daily to a curious Ondas. The only shrill note in the film is the constant high-pitched singing of Asa's niece Maha (Mahabbat Turganbayeva) who sings the same drone-like folk song six or seven times. As the film opens, Asa, his best friend Boni (Tulepbergen Baisakalov), and Ondas visit the family of Tulpan, a young woman whom they want Asa to marry. In southern Kazakhstan, the terrain is so forbidding that a herdsman must have a wife to do the chores while he tends his sheep and Ondas considers Asa too irresponsible and immature to be a herdsman without a wife.

At the family gathering (Tulpan is not present) Asa makes up stories about his adventures in the Russian navy and how he fought an octopus in a life and death struggle. Tulpan's parents, however, are unimpressed and later tell Asa that their daughter (who is never seen in the film) has rejected him because his ears are too big. How she might have known that is not made clear but it leads to a comic comparison of Asa's ears to a picture of Prince Charles. Discouraged, Asa threatens to leave the steppe and move to the city with Boni but is reluctant to give up either his dream of marrying Tulpan or learning about animal husbandry.

As Asa tries to prove himself to Ondas whose herd of sheep is plagued by a series of mysterious deaths, he assists in the birthing of a lamb and meets his severest test. Tulpan is a natural showcase for the region and Cinematographer Joly Dylewska captures the swirling dust and the stark landscape with striking success. One of the best scenes is that of a bandaged camel placed in a motorcycle sidecar by a veterinarian (Esentai Tulendiev) while the mother paces in the background. Not a dry National Geographic Special, Tulpan has ethnic and pop music, adorable children, moments of wicked humor, and an unforced naturalism that is captivating.

Funny, real, reach, sad and inspiring! I was really shocked watching this movie! There are not many movies in Post-Soviet space, which can show us birth of a new creature with such a courage. The delivery scene of the film, which is a culmination of a film is a catharsis creating moment.

The dialogs and monologues are great. I watched the film in Rissian and the dialogs were the brilliant reflection of folksy mind, always practical, straight but magic at the same time. The best monologue of the former sailor, who is the leading star, opens the film.

The scenery is great. The space of a film is very informative. There are many little details that tell us about the steppe life without any words, such as steppe tractor, which is decorated with glued naked women's pictures, radio set, which the shepherd's son always keeps in his hands and many other.

And the message of the film which brings the leading star, who is impetuous and reckless at the beginning of the film, but later on he becomes wiser, is very simple and traditional. You can build castles in the air as long as you want, but to build them on the land you should make many little steps every day. And to reach a goal you should be not only persistent but adaptable and be capable to forgive your nearest and dearest.

The fact that this film won almost every award it was nominated for is of little consequence to the average film goer. It is about life on the Central Asian steppes of Kazakhstan. Yes, that Kazakhstan, but without Sasha Baron Cohen.

Life here is very hard. There is not a tree in sight, and the wind whips the dirt around mercilessly. Asa just returned from his tour of duty in the Russian Navy, and we hear him tell his potential in-laws of the things he encountered. He is after the hand of Tulpan, the only available bride in the area. He wants to settle down and raise sheep, but he must have a wife. No deal. She thinks his ears are too big, but I believe it is mama that wants her to do more than just be a wife who cooks and cleans and has babies on the steppes.

Asa keeps trying to win her as he tries to become a shepherd. He is not doing well at either.

The funniest part of the film is the vet. You can't describe what he does with a cigarette, but you have to see it.

It won't win any popularity contests, but it is worth seeing.

Another film from Kazakhstan, but unlike the NYFF's 'Chouga,' far from being set in the newly rich urban part of the country. Dvortsevoy, a successful documentary filmmaker, chose to make this, his first feature, in the ethnographic mode, among shepherds in the Betpak Dala, the steppe, a region of scrubby grass, dirt, flatland, whirling wind storms and stormy skies. The technique is to work in near-wilderness, among non-actors, with nothing but camels or donkeys or rugged trucks to travel by, surrounded by a herd of sheep and a few goats, living in a yurt. The method and setting resemble those of Dava and Falorni's 'The Weeping Camel,' but the focus this time is not as anecdotal and the story raises fewer troubling questions. It's still not certain that the effect of "authenticity" means the events we're witnessing truthfully depict life in the steppe. But the sense of trying to adapt to a harsh environment and culture is powerful and the landscape is awesome, and the sheep births we witness are unquestionably real.

The protagonist is Asa (Askat Kuchinchirekov). He is a young sailor who's just finished his military service who comes out to the "Hunger Steppe" to live with the family of his sister Samal (Samal Eslyamova), headed by her husband, an older man, Ondas (Ondasyn Besikasov). Sailors draw their dreams under the lapels of their uniforms and Asa's sketch shows the plain with a yurt, children, camels, and the sun shining. Apparently he is from somewhere else (it's not clear how his sister got to be Ondas' wife) but he doesn't want city life, he wants to make his paradise out here. He dreams of prospering as a shepherd, doing so well he can buy solar panels to put on his yurt so he can have electricity. His pal is the nutty Boni (Tulepbergen Baisakalov), a transport driver whose truck is plastered with magazine photos of nude babes and who plays loud pop music as he drives madly across the plain. It's Boni who first brings Asa to the yurt of Ondas and who dreams and schemes with him.

Driven by Boni, Ondas takes Asa more than once a day's ride to a family who have an eligible daughter, the beautiful Tulpan (Tulip), whom the suitor only glimpses. She watches behind a screen. At these interviews Asa has an unfortunate tendency to dwell on a story about how he successfully fought an octopus. It doesn't seem to go over with Tulpan's aged dad (Amangeldi Nurzhanbayev ) or her mother (Tazhyban Kalykulova), who apparently has listened with a sympathetic ear to her desire to go off to college. Tulpan says she doesn't care for Asa, anyway, says his ears are too big. End of story. Ondas says that if Asa gets a wife, he can have a flock of his own, and only then. But there are no other women around. Tulpan becomes little more than Asa's dream, like the idyllic yurt and flock and prosperity and happy life. What can Asa do? Well, he can find a lost pregnant sheep and assist in its giving birth to a healthy lamb. But he still is very ambivalent about whether he wants to stay and face Ondas' disapproval or strike out for Sakhalin island as Boni wants or go to the capital, Astana, where there are probably jobs--and eligible women. But what stands out in 'Tulpan' is Asa's dream--the little picture under the collar of his sailor jacket that seems to draw him back every time he packs up his little valise and starts to go away.

Dvortsevoy populates his landscape and the yurt with noisy characters to break the sounds of silence and the roaring winds. Samal and her daughter Nika love to sing at the top of their lungs, with sometimes pleasing, sometimes grating effect. Beke is a little boy with a great memory who listens to the radio broadcasts in Russian and can recite the national and global and cultural news verbatim on Ondas' command. Ondas himself is often barking out harsh commands. There is the smallest boy, who runs around chirping and laughing all the time riding a wooden stick, an indomitable spirit and perhaps potentially as nutty as Boni.

The omnipresent sheep of Ondas' flock seem to be too often growing weak and dying. A vet (Esentai Tulendiev) has to come in with Ondas' boss to assess the cause: he decrees that the animals are not sick (or poisoned by chemical waste like the ones in the Naples region), buy just hungry. The yurt has to be moved to better grazing land.

This is an Arte co-production. It's not a great film by any means; it's technical aspects are minimal. But some will be impressed by its vividness. Asa is a winsome character and there are moments when the wind and the sky create a wild poetry. The sheep, in all their noise and disorder, fill the screen powerfully too. This may have been designed to be seen on television but it is powerful on a big screen.

The film won the Un Certain Regard Prize--Groupama Gan Foundation for Cinema, 2008, and is part of the NYFF.