რეალური ისტორიის სიურეალისტურ მხატვრულ ფილმად ქცევა ყველაზე ანტისაბჭოთა ფილმში, თენგიზ აბულაძის "მონანიებაში"
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Date
2021
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Abstract
Tengiz Abuladze’s film “Repentance” released in 1984, is still considered the
most anti-Soviet fi lm of the twenty-first century. It was the third part of the trilogy
– this is how Tengiz Abuladze referred to a combination of films of completely different
genres and styles – “Petition”, “Tree of Nature” – “Repentance”. What did the
director mean by the unity of the screen versions of Georgian literary masterpieces
and the film created based on the original script? The paper will provide an analysis
of this issue.
“Repentance” was kept on the “shelf” for three years. The film is based on a real
story – the fact that it happened in Megrelia, the deceased was exhumed for revenge.
The original version of the script was also designed for narration in a completely
realistic cinematic language. In the fi rst version, the avenger, the protagonist of the
film, was a man, a house painter. Tengiz Abuladze initially planned to choose, for the
role of avenger, between Tengiz Archvadze and Gia Peradze. In the final version, the
story became the brainchild of the memory and imagination of a woman who baked
cakes, which was filled with seemingly completely incompatible characters, details,
circumstances. What caused such changes? The paper will analyze their cause-and-effect relationships in detail. The author of the paper was an assistant on this film and
tells us about the filming, the process of creating metaphors and the formation of the
film’s stylistics from the position of an eyewitness and a participant of the process.
The story of making this film is directly related to the policy of the then First
Secretary of the Central Committee of Georgia, Eduard Shevardnadze. Shevardnadze
started the game of democracy and “Repentance” was created under his direct patronage.
In this political game, Shevardnadze successfully played the role of a progressive-
minded democrat, but this did not prevent him from shooting the main actor of
the main role of “Repentance”, Tornike Aravidze, Gega Kobakhidze. This paper will
analyze the sociopolitical situation in Georgia and the Soviet Union in the eighties
and the status of Tengiz Abuladze’s film in this situation.
The paper will also analyze the circumstances that prevented the release of the
film for 3 years and the subsequent situation when the triumph of “Repentance” took
place worldwide. The main virtue of “Repentance” is the creation of generalized artistic faces
along with the position of the director. However, the characters in the movie also
have specific prototypes. One of the topics of this research is a comparative analysis
of the actions of intellectuals, real people and heroes of “repentance” in the 1930s .
The research aims to analyze the symbolic-metaphorical cinema language of
“Repentance” and the influence of stylistics on the artistic quality of the film.
In one of his interviews, Tengiz Abuladze stated “ One of our biggest mistakes,
and not only ours, of all times, and also, a fatal crime is that a very large part of
society considers the difference between good and evil only relatively, but in fact,
this difference is absolute”. Repentance” was the first cinematic victory in the fight
against the evil empire, and it remained so in the twenty-first century.
In addition, the paper will analyze the quotes from scientific literature and the
opinions of prominent contemporary artists – Revaz Chkheidze, Giga Lortkipanidze,
Robert Sturua, Akaki Bakradze, Avto Makharadze- about “Repentance” as well as
their memories of the work process.
Description
კონფერენცია ეძღვნება ჭაბუა ამირეჯიბის დაბადებიდან 100 წლის იუბილეს/ The Conference is Dedicated to the 100th Anniversary of Chabua Amirejibi
Keywords
საბჭოთა კავშირი, ხელოვნება, კინო, Soviet Union, art, cinema
Citation
საერთაშორისო სამეცნიერო კონფერენცია: 1921 წლის ისტორიულ-კულტურული მოვლენები: ხედვა საუკუნის შემდეგ, თეზისები, 2021, გვ. 169-172/ International Scientific Conference: HISTORICAL AND CULTURAL EVENTS OF 1921: THE VISION A CENTURY LATER, Theses, 2021, pp.: 169-172