Les chevaux de feu

Thank god for this man. He could have given us this one film and still changed the medium twice as most filmmakers have done in a lifetime. It deserves to be studied by anyone working today in movies and looking for rich multilayered intuition. This man has centuries in him.

The story is deceptively simple; young man loves, loses, and has to scramble on with life. But the way it burrows into you and speaks now, even though it's from another time, well, the way it's done is from another world.

To Western viewers, it will seem quite literally like something from another world. It profoundly speaks to me because I was lucky that me and him share a part of that other world, the one closer to the steppe. The difference between worlds is simple; in the West, you had the luxury of painting and theater, and music melded into that with opera, so when cinema rolled around a few centuries later, there was already an established reservoir of ways to see and imagine. The first films were little more than filmed plays with the camera assuming the role of the audience, later renovated in France (partly) through the influence of impressionist painting.

Parajanov was Armenian, which is to say from that world that ages ago was swept by invaders from the steppe. There was no lofty art allowed in the centuries of Ottoman blight, nowhere in the empire. There was no Rennaisance. Not there and not where I write this from. Our painting was religious icons. Our theater was song and dance. The collective soul had to pour that way, which is why they still persist and resonate in these parts; in the work of Kazantzakis, Bregovic, Kusturica and others, also why Western-influenced makers like Angelopoulos or Ceylan speak far less to the common folk.

You have to appreciate the significance of this in terms of cinema. There was already an established Soviet tradition in film in those days, Parajanov was a student at the prestigious VGIK after all. But, he chose to go even beyond Dovzhenko, a teacher of his at VGIK, who framed his films, back when he was still allowed by censors, as poetic remembrance of ancient past.

The memory of it was not enough, it had to have soul of its own now, what in the Spanish-speaking world is called the duende. It had to be a song that cuts deep and rises from bloody earth.

But, this is the genius of Parajanov. So a memory that is sang and danced out by the camera, and because he is not constrained by a visual tradition, the world of the film is freeform and spontaneous waters, an absolute marvel to watch. But he doesn't just photograph the iconography of the dance from the outside, simple pageantry.

That iconography is vivid and immediate in itself, you don't need special keys. Austere suffering saints look down at suffering. The mourning fire that burns in him and has to go out by itself. A lamb is caressed the way his soul needs it. Songs as hearsay overlain on scenes of life.

That is all melody to the song, lyrical cadence in terms of images. We'd be lucky if most filmmakers saw that far, most just center on story or character and parse out what beats result. Parajanov does neither, in a similar way to his friend Tarkovsky.

He provides deeply felt illogical machinery of that world to swim into, remember this is a world where sorcery is believed and wards off a storm, and prayer manifests as a lout from the woods looking for sex, in other words, we are not mere spectators to a gaudy visual dance from faraway times, the film is made so that we feel the urges and pulls of the world dancing around us. He pulls fabric to film from the ether around the edges of someome experiencing a story, the same deeply felt air that a singer cannot put to words and responds to with a song.

Look for the amazing finale. The film is bookended by death, but it's death that none of the individual scenes reasonably explain, it can only maybe have allusive extra-logical sense in being pieced by you. It is something that specifically has meaning that you let go. The thing is that him confronting or being confronted at the tavern, is, in itself, knowing about the sorcerer and his wife, knowing at the same instant that his father's death was the result of a similarly veiled and bubbling causality, knowing all in once that the universe, the cosmic dance, is not random but has inexplicable agency.

An invisible axe is spunning and cutting the tethers.

The way Parajanov filmed has been taken up by many, sure enough, Malick included. But we just haven't found more eloquent solutions to narrative, not in Malick, not in Lynch. I'm not just waxing. On top of everything else, the way causalities are overlain here is as intricate as I've seen in a film.

´Shadows´ is one of the best movies i´ve ever seen. The filming is so beautiful that it constantly makes you wonder how they did it, remind you, it was made in 1964. The way the lead characters feel is constantly expressed in color and camera movement, in a way i´ve never seen before. Notice how the colors are full in the first, happy part of the film, and how they get faded more and more to an almost black and white teint along with grief of Ivan, the male lead. At the end it turns to a blood red fury and then there is nothing but the dead. The folk music, with very poetic lyrics also contributes a lot to the sphere in this film. Again, i never saw something like that before, normally i hate folk music, now it fitted perfectly. And then the ending,it´s so sad, i almost cried my eyes out. What an archievement, it´s the most beautifullest thing i´ve ever seen.

Ingmar Bergman once claimed that the childhood gift of a film projector inspired him to make movies. The feeling of magic in creating images in light upon the wall never left him; perhaps it revealed to him the perfect medium for living out dreams.

Watching "Shadows of Our Forgotten Ancestors" is like that moment of discovery: it makes us feel the same joy some have felt in discovering Bresson or Godard, the joy of finding out what film can do. It is understanding the director's joy in putting pictures together to tell a story (like a painter finding just the right colors to paint a myth). The movie, a sort of folk- Ukrainian "Romeo and Juliet," bursts with passion and physicality, chasing its protagonists through some of the most wild and beautiful landscapes ever caught on film. Yet the real romance here is between director Parajanov and the camera, which swoons and runs and bounds as ardently as any young lover, whether falling like a tree to the ground or spinning through a field or moping grief-stricken in a corner. Parajanov, like a honeymooning bridegroom, tries everything; he veers from silent-film subtitles to new-wave editing gimmicks to Russian iconography within seconds, and yet the tricks never feel anachronistic. From a torchlit search along a river to witchcraft in a lightning storm to the simple, painful clarity of the hero's eyes, the movie exudes a pagan wildness. (How he smuggled it past Soviet aesthetics is anybody's guess.)

This is a movie that makes you laugh not from comedy but from sheer pleasure; it is as warm, bold, tragic, profoundly silly, and above all human, as a Shakespeare romance. See it by any means necessary.

I had no expectations going into SHADOWS OF FORGOTTEN ANCESTORS, mostly because I knew very little about it beforehand. What I can say now is that it was more interesting from an artistic point of view than the actual story it tells. The basic plot is about a boy, Ivanko, who falls in love with a girl, Marichko. However, fate conspires to keep them apart and a fateful turn of events sets Ivanko down a course that changes his life forever. The elements I liked about the film, and what makes it stand out, are the cinematography, use of color, costumes, and the occasionally poetic image. The camera-work was rather improvisatory and free-moving with lots of high-angle shots, often pointed at the sky. There was also a conscious choice in one sequence to film in black-and-white for narrative reasons, to visually depict the protagonist's emotional state. As for imagery, there were a few sequences which stood out. One early scene showed blood dripping over the lens as a way to show someone dying, transitioning respectively into red horses and some kind of red plant. There was also creative use of double exposure in a scene where the characters are overlaid onto religious iconography. All of this was engaging and unique in a way that the story wasn't. I have a feeling that more familiarity with Ukrainian culture and folklore would have made the story a little more accessible, but I don't really think that the story was entirely the point. In fact, the acting in the film really isn't that good, and the film often felt like a filmed stage play where the intended audience is already familiar with the character archetypes and tropes. It also doesn't help that the film is episodic, with awkward and occasionally jarring scene transitions. Overall, this film's value (to me, at least) lies in its images and music. I don't really see the average film-watcher taking the time to see this, but this could potentially be worth it for the more adventurous person.

I was brought up in a backward Polish village where the Ukrainian background was also present (I could in most part understand the language of the movie). This movie reminded me of my long forgotten childchood in a place where people didn't lock their houses and lived very simple lives. Magnificent visual effects, melodious folk music and probably the music of Sergei Prokofiev or someone close to his style complete the picture. I believe it is a universal story about love, life, death and that all things that are nice are turning into oblivion. I myself emigrated to America, then came back after some years, though changed and working mostly for Western companies. Though being generally a child of Western European and American culture I acknowledge that it pays to keep at least part of our original heritage. Miroslaw