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Сергей Параджанов

Пишем историю

история

легенда

кино

кинорежиссер

художник

сценарист

СССР

Советский Союз

Тени забытых предков

Цвет гранат

Легенда о Сурамской крепости

фильм

кинолента

биография

Роман Ширман

Григорий Десятник

киновед

киностудия

им.Довженко

культура

искусство

uatv

украина

ukraine

uatv

uatvrussian

uatvua

сергейпараджанов

пишемисторию

ссср

советскийсоюз

тенизабытыхпредков

цветгранат

легендаосурамскойкрепости

романширман

григорийдесятник

имдовженко

00:00:04

[music]

00:00:08

Andrei Tarkovsky thought you were a genius mugen

00:00:11

dakine

00:00:12

Oscar-winning coffee shot I didn’t call

00:00:14

him my friend he had world

00:00:16

fame as a director but the authorities of the former

00:00:18

Soviet Union in which he had to be

00:00:20

born and live and did everything to

00:00:22

denigrate

00:00:23

and both catch the name of Sergei Parajanov

00:00:26

hushed up his success They didn’t allow him to

00:00:29

work for 15 whole years, he was thrown into prison

00:00:31

and yet he left to his descendants unique

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films, parables, shadows of forgotten ancestors, the color of

00:00:37

pomegranate, the legend of the asuras, sky fortresses,

00:00:39

and also collages and drawings from the script

00:00:42

included, later collected into a book, a

00:00:45

confession

00:00:46

when I started making a

00:00:49

film about Sergeevich and Parajanov, then I

00:00:52

once again really understood that, of course,

00:00:54

as a child I lived in the same house with a genius,

00:00:57

he was an amazing, unique,

00:01:00

amazing, brilliant person, a

00:01:01

huge number of outstanding masters of

00:01:04

world art who hardly

00:01:06

ever looked in our direction or in the

00:01:08

direction of our cinema, they saw

00:01:11

Parajanov's fantastic talent his

00:01:14

real fans were Federico

00:01:16

Fellini

00:01:17

Pier Paolo Pasolini Tonino Guerra

00:01:20

Andrei Tarkovsky they later

00:01:24

many of them became just his personal

00:01:26

friends the great master was not lying when he

00:01:29

repeated the phrase I was born a director he

00:01:32

grew up in the old quarter of Tiflis and where there

00:01:34

were still open trade shops and

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handicraft workshops

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for an observant and artistically

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gifted boy, it was a huge and

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fascinating world, with an amazing

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variety of colors and smells, sounds of

00:01:47

people and things, what he

00:01:49

saw then tried to

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perpetuate in his work, Sergei

00:01:53

was a very talented child, he had a

00:01:55

wonderful voice, the ability to paint,

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at first, in general, he was a dancer, well

00:02:01

danced beautifully, he was a great

00:02:03

connoisseur of

00:02:04

antiques, some such things,

00:02:07

this and this can be seen in his films, how much

00:02:09

attention he paid to the

00:02:11

object in the frame, his father was like that, he

00:02:17

was a merchant,

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but he understood the bow to cook and parajans

00:02:22

watched all this business from childhood

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what are antiques, good, what

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is good work, what are patterns,

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what are carvings there, wooden, there were

00:02:42

obviously no equals to his imagination, the transformation of simple objects into works of art, in any case, there were no

00:02:45

analogues to this, unknown in the year forty-six,

00:02:49

Paradzhanov entered the

00:02:50

directing department of the All-Union

00:02:52

Institute of Cinematography, first to study

00:02:55

in Igor’s workshop Savchenko and after his

00:02:57

death with Alexander Dovzhenko

00:02:59

and after graduating from the institute he was

00:03:02

sent to the Kiev film studio

00:03:04

Paradzhenko to receive his C grade or became

00:03:07

a film director

00:03:08

after which, like many of those who

00:03:11

thought that they would not be useful in the capital's

00:03:14

studios, he was sent to Kiev

00:03:18

the studio named after Dovzhenko was such a kind of

00:03:20

sump for people and those who raised

00:03:22

doubts, so unfortunately it took shape

00:03:25

in the 50s, by the way, exactly the same was

00:03:29

assistant Grigory Chukhrai, whose

00:03:32

inability with sweet cues later

00:03:35

turned out to be true, he was a classic of Soviet

00:03:37

cinema, but it was somewhat bad

00:03:39

in 10 years of work at the Dovzhenko film studio,

00:03:42

Parajanov shot four films

00:03:44

that did not bring him fame or

00:03:46

honor, not a single serious specialist in the

00:03:48

field of cinema could have imagined that

00:03:50

a director who shot such ordinary

00:03:53

films could achieve something more. In

00:03:56

sixty-four, Sergei

00:03:58

Paradzhanov began work on the film Shadows of

00:04:00

Forgotten Ancestors based on the work of the

00:04:02

Ukrainian writer Mikhail

00:04:03

Kotsyubinsky

00:04:06

Talented creators worked together with Sergei Iosifovich; the

00:04:08

author of the script was the writer Ivanchin

00:04:11

Day; composer Miroslav Skorik; artist

00:04:13

Georgy Yakutovich; and the cameraman of the film; jury

00:04:16

Ilyenko, who embodied

00:04:18

his unique cinematic poetics in this film; there

00:04:20

was an agreement with

00:04:23

Parajanov’s indefatigable desire to transform any

00:04:27

objective world into a

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v-shaped philosophical context and

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amazing ethnographic world of the Carpathians

00:04:35

proj she encountered this for the first time, it

00:04:39

shocked him, this world was very close

00:04:41

to him as a representative of the Caucasian peoples,

00:04:44

and he found in it an opportunity to

00:04:48

realize his own imagination on

00:04:50

the set, he got along with Yuri Ilyenko,

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the cameraman who had already won a prize for

00:04:58

cinematography for the film Fly

00:05:00

director Segal's pigeons in Karlovy Vary

00:05:04

and who felt the taste of a dynamic

00:05:08

camera and wholly in line with the

00:05:10

latest trends, camera

00:05:13

art in the shadows of forgotten ancestors and

00:05:16

Paradzhanov Ilyenko, eventually

00:05:19

working together they proved that in

00:05:22

cinema the main thing is for the viewer

00:05:25

to feel what the on-screen

00:05:28

character

00:05:29

Sergei Paradzhanov feels tirelessly studied the

00:05:32

Hutul culture in his free days from filming,

00:05:34

he went to real weddings

00:05:36

or funerals in the surrounding area, studied everyday life,

00:05:39

or went to the local museum of

00:05:40

folk costume. In the film you can

00:05:42

see many Hutsul rituals, the

00:05:44

director constantly edited these

00:05:46

rituals, changed them and added colorful

00:05:49

elements, there is a famous

00:05:51

famous scene weddings where

00:05:53

they put a yoke on these young people so they will

00:05:56

go on all their lives they sing and so I

00:06:00

look when the Finn but I understand with my head the

00:06:02

folk ritual

00:06:03

then it became clear when I was already

00:06:06

wondering how it all happened this

00:06:07

couple Jana came up with this ritual along the way there

00:06:09

was no such thing, not a hall,

00:06:11

folk customs, he came up with something there, and

00:06:14

you know what people said, local

00:06:16

old people who

00:06:17

saw it all, they were the same, but if you

00:06:20

leave it, it’s exactly that, it’s

00:06:23

just that such rituals were once there,

00:06:25

we just forgot, but

00:06:26

this it must have been right at the gatherings,

00:06:29

we forgot it was that guy with a beard,

00:06:32

this joke, he knew it, but it

00:06:36

was nothing like that, it was parajanov’s mind, it

00:06:38

takes a very brave person for you to come up with

00:06:41

such a type, and these people did not

00:06:43

accept this court, someone else’s imagination,

00:06:46

talent energy agrees,

00:06:48

in just two years of showing abroad,

00:06:51

the film will collect

00:06:52

28 prizes, awards and diplomas at various international film festivals,

00:06:56

becoming one of the most famous films, this

00:06:59

film made a revolution, he immediately saw

00:07:02

this, it was our provincial cinema at

00:07:04

some absolutely stunning

00:07:06

international level, it was something then it didn’t

00:07:09

happen, he amazed everyone with this film,

00:07:14

first of all, it had a very strange shape, unusual, with a

00:07:17

huge number of awards that

00:07:19

immediately showered on this film from the

00:07:21

studio, due to the fact that we weren’t spoiled by

00:07:23

awards from Mar del Plata from

00:07:26

Argentina to France, everywhere the film

00:07:30

was called in the West, fire horses,

00:07:31

everywhere used mad popular,

00:07:33

received awards,

00:07:34

they said that this was the beginning of someone new

00:07:36

cinema, the premiere of the film caused a lot of noise

00:07:40

in Kiev on September 4, 65, before its

00:07:43

showing in the cinema in Ukraine, dissidents

00:07:46

Ivan Zub and Vasily Stus

00:07:47

and Vyacheslav Chernovol suddenly

00:07:49

started talking about mass arrests of

00:07:51

the national intelligentsia and called on

00:07:53

people to protest they were supported by many

00:07:56

present, including

00:07:57

openly expressing support for the arrested and

00:08:00

Parajanov

00:08:01

Sergei was not such dissidents like

00:08:04

Academician Sakharov, a philosopher somehow, he

00:08:08

intuitively, he aesthetically hated this

00:08:10

false power,

00:08:12

this false ideology which in

00:08:14

words was so wonderful,

00:08:17

humane, in fact it was cruel, vile

00:08:19

and vile The negative attitude of the Ukrainian

00:08:22

authorities towards the director intensified even more

00:08:24

after he began

00:08:27

filming the film Kiev Frescoes in 1966,

00:08:29

the leaders of the Soviet guests, but

00:08:31

they reacted to Parajanov’s desire to make a

00:08:33

film about the war with great caution;

00:08:35

they understood perfectly well that after the shadows of

00:08:38

forgotten ancestors, something new was born

00:08:41

and completely incomprehensible and

00:08:44

they no longer needed such Parajanov, as a result, after the first

00:08:48

tests, the directors accused him of a mystically

00:08:50

subjective attitude to the events of the war,

00:08:52

which was then called the Great

00:08:54

Patriotic War. It was then that Parajanov

00:08:56

realized that they would not let him work in Kiev anymore

00:08:59

and he moved to Yerevan where he was at the

00:09:01

studio armenfilm in sixty-eight

00:09:03

began filming the film the color of pomegranate,

00:09:05

sometimes this film is called sayat-nova in

00:09:08

the film an attempt was made to show the

00:09:10

spiritual world of the medieval Armenian

00:09:13

poet sayat-nova Parajanov’s fantasy

00:09:17

was

00:09:19

not limited by anything, first of all, it

00:09:23

was not limited by the realities of life and

00:09:25

in this he showed himself as a very

00:09:29

special artist and this fantasy

00:09:31

then completely triumphed in such

00:09:34

his work as sayat-nova mistakes reev

00:09:37

legend from the Ural fortress state cinema

00:09:39

officials again did not understand the

00:09:42

innovative ideas of the director and hid their

00:09:44

misunderstanding under a formulaic formulation the

00:09:46

people do not need such a movie in the sixty-

00:09:50

ninth year of the parajans again returned to

00:09:51

Kiev but was not allowed to film in his

00:09:54

public speeches, he openly

00:09:56

criticized the authorities, he said that my

00:10:00

films are the

00:10:01

ones in the Soviet Union that they don’t

00:10:03

understand, they are understood in Africa and the

00:10:06

Indians in Argentina understand,

00:10:07

and our bodies say they are very internal,

00:10:09

they don’t understand at all and everyone is on fire

00:10:12

they want to imprison and our Minister of Culture

00:10:16

said he is a former floor polisher because

00:10:19

he confuses the words mastic and mystic,

00:10:21

it is clear that the authorities responded to criticism

00:10:24

with arrest. On December 17, 1973, Paradzhanov

00:10:27

was placed in the Lukyanovsky prison, the case

00:10:30

against him at the factory was rushed,

00:10:32

so the articles that

00:10:34

incriminated him were replaced on the go, then

00:10:36

currency transactions, then bribery, or

00:10:39

illegal storage of jewelry

00:10:42

for many years, Sergei watch was engaged in the topic of

00:10:46

compiling these and lived for many years

00:10:48

that he found old jewelry,

00:10:54

some stones that were unsuitable

00:10:56

for use, and created from them

00:10:59

simply a miracle of

00:11:00

jewelry art, we were talking about

00:11:02

precious stones and precious metals, which in the

00:11:06

Soviet Union was punishable under the

00:11:08

relevant articles of the criminal

00:11:10

code; as a result, he was sentenced to 5 years in a maximum security

00:11:13

colony

00:11:15

for homosexuality

00:11:18

under an article that did not provide for

00:11:20

release; prisoners

00:11:23

treated those

00:11:25

convicted under this article with particular cruelty, but Paradzhanova

00:11:27

managed to survive, enormous efforts were made

00:11:30

to ease his suffering in prison,

00:11:32

to get him out of there was made by the former

00:11:34

girlfriend of the Russian poet Mayakovsky,

00:11:36

Lilya Brik,

00:11:38

she was 80 years old at that time, but

00:11:42

despite her age she showed such

00:11:44

activity that

00:11:45

young people might envy, it was she who first began to

00:11:48

turn to foreigners so that they would

00:11:49

rise up to defend Parajanov,

00:11:52

the famous Lilya Brik who madly

00:11:55

appreciated Parajanov, she organized

00:12:01

this international movement her

00:12:03

sister Elsa Triale, the French

00:12:04

writer agitated her husband

00:12:07

Louis Aragon, the famous French

00:12:09

academician writer and a very important

00:12:12

member of the French Communist

00:12:13

Party, they turned to Brezhnev,

00:12:16

they raised it there all the entire world

00:12:19

community Brezhnev Duster Belko

00:12:22

listen to something you have some kind of

00:12:25

Parajanov there and you are mocking him there and then

00:12:30

they released Parajanov from prison a year

00:12:33

ahead of schedule

00:12:34

but after his release he was forbidden to

00:12:35

live in Moscow

00:12:37

Kiev Leningrad and Yerevan so he

00:12:40

left for his native Tbilisi, where he continued

00:12:42

his artistic searches, creating

00:12:45

collages, installations of dolls, accessories,

00:12:47

sculpture, and returned to writing

00:12:50

scripts, but no one considered them in the

00:12:53

last few years of his life.

00:12:54

Sergei Parajanov continued to

00:12:56

work actively in cinema in the year eighty-six,

00:12:58

he shot a documentary film

00:12:59

Arabesques on the theme of Pirosmani

00:13:02

and two years later the feature film

00:13:04

Ashik-Kerib,

00:13:05

it was based on the poem of the same name by

00:13:07

Mikhail Lermontov, the

00:13:09

director’s last work was shown in the

00:13:11

eighty-eighth year at the festival in

00:13:13

Venice in these frames we see the

00:13:15

terminally ill Parajanov in

00:13:18

less than six months on July 20, 90

00:13:21

he will leave this world I have a lot of condition

00:13:24

part of the festive trophy today I received

00:13:27

the title

00:13:29

as you excuse me

00:13:32

I received a call from Ukraine I was given a

00:13:36

People's Artist I congratulate you this is

00:13:38

very joyful a really great gift

00:13:42

your attention to the act itself

00:13:46

People's Artist and see art

00:13:50

a lot our man

00:13:56

worked that is two years In Ukraine, without

00:14:00

any attention, the

00:14:06

fate of many nations passed through the life of Sergei Parajanov. The

00:14:09

Armenian was born in Georgia, studied in Russia, made his

00:14:12

debut in films with Moldavian

00:14:15

themes, worked in Ukraine for a long time,

00:14:18

he paid off these layers of national cultures

00:14:20

in his work and reached

00:14:21

unprecedented heights of directorial

00:14:24

expressiveness

00:14:27

[music]

Description:

Андрей Тарковский считал его гением. Легенда кино, оскароносный Федерико Феллини называл его своим другом. У него была мировая слава режиссёра. Но власти бывшего Советского Союза, в котором ему пришлось родиться и жить, сделали всё, чтобы очернить и обесславить имя Сергея Параджанова. Замалчивали его успех, не давали ему работать целых 15 лет. Засадили в тюрьму. И всё же он оставил потомкам уникальные кино-притчи: «Тени забытых предков», «Цвет граната», «Легенда о Сурамской крепости». А еще коллажи и рисунки. И сценарии в виде новелл, собранные позже в книгу «Исповедь». ___ UATV - твой новостной канал. Подпишись: https://www.youtube.com/channel/UCOqFkpNwNLPGOb8EC-mwZYg/?sub_confirmation=1 Онлайн трансляция UA|TV: http://rus.uatv.ua/ Facebook: https://www.facebook.com/UATVRU/ Twitter: https://twitter.com/UATV_rus Подробнее на YouTube: https://www.youtube.com/UATVRU G+: https://workspaceupdates.googleblog.com/2023/04/new-community-features-for-google-chat-and-an-update-currents%20.html Проекты: https://www.youtube.com/UATVRU/playlists?sort=dd&view=50&shelf_id=5

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The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.

How can I save a frame from a video "Сергей Параджанов | Пишем историю"?

This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.

What's the price of all this stuff?

It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.