A Lenda da Fortaleza Suram

Paradjanov made four films for which he is best known: Shadows Of Forgotten Ancestors and Color Of Pomegranates in the sixties; Legend Of Surami Fortress and Ashik Kerib in the eighties. In case you don't already know, between the sixties and the eighties he spent over a decade in a Soviet prison. I find this to be the strongest and most hypnotic one of the bunch, made soon after his release. One should take advantage of any opportunity to see these on the big screen.

It's a great film which has scenes like paintings. The music is remarkable. Therefore, both visually and aurally it is a marvelous journey to the Georgian folklore. It also conveys very good messages. The main theme is the suggestion that the patria could only be defended, if some sacrifices their lives for its defense. Blood becomes the cement, in other words. The fortress constitutes a metaphor of the patria, which was vulnerable at that time to the invasions of the two major empires: Ottoman and Safavid. In this context, religion is the main theme of patriotism, which differentiate the majority of the Georgians from the outsiders. There are also so many connections to the folk tales of both Turkish and Iranian culture. One is the character Zurab who rebels against his father because he leaves his patria, thus, his religion. This reminds us the character Zohrab in Shahname of Firdawsi, who fought against his father.

On the other hand, the political context and the director's position in that context is also felt in the choice of making such a movie. The Soviet system was disintegrating and the director is also one of the victims of the Soviet regime long before this movie's production.

In his first film since his release from the Gulag system, Paradjanov demonstrated that he was wounded, but not killed, that his soul didn't atrophy, and that he was still seeing in color. Needless to say, this is a visual masterpiece, as is everything that bears his name. Although his best works were either behind him or in his head, it is more of a testimony to the magnitude of his talent. Photographed in niello silver, "The Legend..." reflected Paradjanov's state of being-an aging and ailing artist, who have suffered, but, to some extent, lived to tell about it.

Full review on my blog max4movies: Ambavi Suramis tsikhitsa (international title: The Legend of Suram Fortress) is the fictionalized retelling of an ancient Georgian tale about a fortress that could only be built with a human sacrifice. Visually, the movie looks wonderful with vibrant colors, perfectly arranged set pieces, and a striking choreography. And while the plot remains mostly simple and central aspects and characters even seem obscure, the heavy use of symbols give the movie a dreamlike quality. Certain scenes - although aesthetically pleasing - seem to lack a clear connection to the plot, which is why the overall allegory about political oppression will remain vague for some viewers.

Paradjanov's sequel to THE COLOR OF POMEGRANATES. This is more accessible than COLOR, more narrative driven, with a greater use of outside locations. It is still as obscure, with legends, allegories, characters and symbols all weaving into a culturally specific tapestry. It is not as jaw-droppingly gorgeous or formally astonishing as COLOR, and seems much more pessimistic. It is a story of exiles, poverty, serfdom, murder and the supernatural, with stories within stories, and an almost buoyant ending celebrating resistance and culture.