parojanov’s jokes increasingly irritated the political leadership of ukraine. of work in april 1966, parajanov left for armenia and was hired by the armen film studio. it is here that he will create his most mysterious film masterpiece - the color of garnet. the original title of the painting is sayat nava. that was the name of the great armenian poet, writing. a boy who grew up in a monastery became a poet and musician, fell in love with his sister king, but this love has no future, the poet goes to the monastery. this is the summary of the story. with the start of work on the film, the heads of the film studio forgot about peace and sleep. parajanov invites a georgian actress to play the role of sayad nava in his youth. safikorli, how will a georgian woman play a classic of armenian poetry? parajanov states that safiko is armenian, she is not a woman, but a man. safiko will play sayat nava's lover, princess anna and four other roles. another familiar rule. what parajanov called a capacious word type, this is nothing more than a philosophical generalization ma

yes, you said that parojanov’s films are such films still not for everyone, yes, but that’s how it wasings of his films in the cinema, went, moreover, i even remember well that i watched the same sayat nava in the center of yerevan and i remember well that literally after 15-20 minutes, well, about half. she left the auditorium, it seems to me that those people who are now already decades later, i think that those people who left, it seems to me, over time they began to, well, reconsider, returned, figuratively speaking, to the cinema and began to watch parajanov, not because, it’s very interesting that parajanov not because that he is fashionable, he has never been fashionable, well, how can i say, if a person loves cinema, he definitely had to touch, watch at least one film, and after watching one film, it seems to me that this is some kind of chain reaction, you there is some interest because these are the four films that you listed, they still, it seems to me, show the style of one artist, we see this style, we see his language, we feel it, it’s impossible not to feel it, but what

i don’t know, i probably learned to love nature when i watched parojanov’s film.orazhanov. and our guest was olga sviglova, art critic, director of multimedia art museum, film director. you can watch all episodes of the lenshtein's witness podcast. on the website 1tv.ru. hello everyone, this podcast is not a bad idea and it’s time to discuss the trends of the new year. today my guest is the legendary stylist, author of the smart haircut method, alexander tatchuk , and a model. world famous anastasia khazisova. hello. hello. hello. let's briefly talk about the results, how did you remember the twenty- third year? well, for me, firstly, this is the opening of one of the new salons, in the very heart of moscow on the patriarch's ponds. a lot of work, bustle, there are many different changes, not the worst, very pleasant, one might even say, congratulations on this, by the way, thank you. nastya, well, i have enough too. it’s been a year, a lot of flights, a lot of trips , a lot of work in my new direction, as an expert in the field of a healthy lifestyle, as well as

shukirip is an expression of love, including for parojanov’s literary idols. including klermontov , but to make a demon film based on shklovsky’s script, i was recently leafing through this script in the musfilm archive. in studying history experimental and creative association of chukhrai, this is where all this comes from from the porajans, yes, what, what is the peculiarity of his later works, the same asha kirib, he develops those ideas that were laid down in the sixties era of the thaw, or is he still he’s already working on the technique that he’s already found, whether there’s any development, he hasn’t removed it. yes, of course, but he wanted, he wanted, the demon is a romantic hero, lermontov had him in, of course, he was sick with it, it’s hard to imagine that he lives in moscow and doesn’t go yes, he goes to the tretkov gallery or doesn’t go to the hermitage, let’s not, we went to the hermitage for the first time at school, i think he did too, so he still knows what he’s talking about visually, but it’s romance. and for a long , long, long time with me, i’m afraid that these

parojanov's character and imagination have always been distinguished by seismic activity. 3 years beforent. everyone knew their apartment in the building opposite the circus in kiev; guests constantly came here, sometimes up to 40 people. the small apartment did not accommodate everyone, the feast was moved to the landing. all this was accompanied by spherical performances that... something was doing all the time. sergey and svetlana they remained friends even after the divorce, but there was no way back to the family. many years later she will tell him: you are charming, but unbearable. or i said, you are either beautiful, but unbearable, or charming, but unbearable. i already have enough, as they say. after the shadows of the forgotten. very dangerous for the leadership, very dangerous, because it spread freedom, gave the opportunity to think freely, speak freely, and then what? they tried to give parajanov the opportunity to rehabilitate himself, they allowed him to make a film, kiev frescoes, about the price of victory of the soviet people in the great patriotic war, it was assumed t

, but it falls apart for him, his own poetics, uh, visual, is already falling apart, and shows that parojanov what the left winger mastered, a pass into the penalty area, a shot, brilliant... until exactly a little over 20, when the canons of socialist realism appear, certain mythologems of soviet myths are formed, he plays with them, and there is also a red ball, which in fact, the red ball, this is his red ball, which will then move into color, into garnet, and into everything, but the fact is that football is a myth, but he will still dance around love, he should always have love, but this red football ball... in this film there are also couples in love, yes, everything that is supposed to be everything that leads to a happy crown and should be, but there are unexpected drops in both rhythm and aesthetics, there a girl can run across a field at night in white dress, this is an absolute ghost, beautiful, runs, runs for a long time, violates all the canons of rhythm. i love the word mysticism, this is poetry, from alery starkovsky, that, well, in general, here, here, you can say, blew your m

i would like to start with the fact that we have known parojanov since the sixties, well, parajanov iswhat was he doing before this time? classmate of grigory chukhrai, and parajanov, as if , when we look at the work today, a person of a different generation, sometimes it seems that he came to cinema quite late, that he began to work almost later than torkovsky, although in fact he is generally then he was much older than his young colleagues who became famous during the cinema of the otebel era, it seems to me that we must definitely say that he will lose... some magical flights on horses, the horses themselves, he always has in the frame then, we can watch this fragment and try to imagine it. yes, here he is, the future parajan. song, song, to some extent this is a kind of patushka row, soviet storytellers. but on the other hand, yes, if you look closely, squint, then already in this film, which he did not make alone, which he made with a co-director, as was then expected for young directors starting out, yes, after all, maybe something shines through, it seems to me that after those

allowed to move to live in iran, so, it ’s interesting that iran is in in this sense, when you watch parojanovly eastern, our country is huge, so it seems to me that the east attracted him solely not by ideology, precisely by its beauty, its beauties and its content , here it is i tried to reflect it in my films. one of the unrealized projects - parajanov is a demon, viktor shklopsky participated in writing the script, but this film was never produced and in general, if we talk about... talk about rip's mistakes or about the legend of the saramsky fortress, this is a step forward, or is this some kind of jump on the spot, if you like, is it like a development of those ideas, artistic principles that were already discovered in sayatnava, or is this some kind of new word in parajanov’s aesthetics? it seems to me that the aesthetics remained the same, yes, but just each one, it’s not the most lip-synching, no? no, it seems to me that it was not a repetition, it was a development. it’s just that when you watch these films more than once, yes, you notice some details that you feel, that he seems to

today, january 9 , marks the 100th anniversary of the birth of sergei parojanov.f oriental carpets, where nikola's paintings were loved perasmani, this is parojanov’s world, i’m still going wild, i’ll dress up, i’ll be there. transcarpathian hutsuls turned out to be brighter, parajanov filmed at the age of 40, life, traditions are more interesting than in life, and the unusual film language amazed the film masters, gadar, antonioni kurasawa, the name parajanov became famous in world, your dress is fire, collages, paintings, amazing things when it was not possible to take pictures. everything became a work of art. sergei parajanov knew how to turn a laid table into a delightful still life, a feast into a performance, and life itself into a generous gift to friends and spectators. greetings, i am very glad. his view of the world has not completely lost its fantasy and festive brightness. the sun rises , the sun sets. it goes back there. where did it come from? ekaterina lepskaya, joseph kobrin, channel one. it's time to find out what's new happened in the country in