La légende de la forteresse de Souram

Way. Search of essence. This world against faith. Death. And the way is not over. Sacrifice as soul of a city. End of circle. Gift of reconciliation. Result - movie as amber sea.Every wave - part of a ladder. Every beach - skin for ambiguous dreams. Every boat - bridge to understand roots of gestures and happiness. An experience and golden peach. As each film by Paradjanov. Basic truth and force of love. As parts of a fairy tale in which end is more than happy. It is fly of soul, leaf of peace, finish of a long trip, answer to old questions, testimony of innocence and rain for new crops.The death of Zurab is same than Manole's Ana sacrifice. The hero is only crumb of huge bread of saints and ancestors. His body is proof. For motherland love. For God sage, For things who must exist behind particular lives . For lost dramas. A film about religion as reflection of a family history

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.

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.

The Georgian/Russian film Ambavi Suramis tsikhitsa (1985) was shown in the U.S. with the translated title The legend of Suram Fortress. The movie was directed by Sergei Parajanov. (Co-directed by Dodo Abashidze.)

Parajanov's muse, Sofiko Chiaureli, stars as Vardo, a young slave whose lover departs and doesn't return. She becomes a fortune teller, and communicates an old folk legend about what will be required to build Suram Fortress. (Ms. Chiaureli starred in every one of Parajanov's films from 1965.)

There was actually a Suram Fortress in Georgia, which was built in the 12th Century. However, this movie isn't really about historical events. It's a drama of passion, revenge, religious conflict, and courage.

This was director Parajanov's first film after he was released from prison. No one could prove that he had actually committed a crime. He was imprisoned because he refused to make films in the Socialist Realism style. Instead, his movies are splashed with intense colors, and almost dreamlike in quality.

The film is divided into about a dozen segments, which don't necessarily follow in chronological order. Flashbacks abound, and everything looks exotic to our eyes. The haunting music adds to the the exotic quality.

I've written quite a bit about Parajanov in my review of his earlier movie Sayat Nova/The Color of Pomegranates (1969). Please check out that review for more information if you're interested in this creative genius.

The Legend of Suram Fortress would work better on a large screen. However, we saw it on DVD, where it worked well enough. The movie has a solid IMDb rating of 7.4. I thought that it was better than that, and rated it 9.

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.