In a Carpathian village, Ivan falls in love with Marichka, the daughter of his father's killer. When tragedy befalls her, his grief lasts months; finally he rejoins the colorful life around him, marrying Palagna. She wants children but his mind stays on his lost love.
The film is highly symbolic, making frequent use of religious and folkloric images that include crosses, lambs, graves, and spirits. The film also uses color to represent mood. During Ivan's period of mourning, black and white film stock is used. In other scenes, colors are often muted, but provide a contrast to vivid use of red and yellow. On its release, the film's presentation contrasted with the common socialist realism style that had government approval. After refusing to change the film, Parajanov was soon blacklisted from Soviet cinema.
I don't think i understand all the symbolism, but I loved the use of color. It is muted, yes, but also just looks sad and impoverished. Part of this may be intentional, part of it not so much. I suspect that the Russian film industry (much like the Italian film industry), was always behind the times in their use of film techniques and technology. Perhaps I misunderstand, but in the West (i.e. America), anything between Eisenstein and Tarkovsky seemingly does not exist. This film ought to be the exception.
The film is highly symbolic, making frequent use of religious and folkloric images that include crosses, lambs, graves, and spirits. The film also uses color to represent mood. During Ivan's period of mourning, black and white film stock is used. In other scenes, colors are often muted, but provide a contrast to vivid use of red and yellow. On its release, the film's presentation contrasted with the common socialist realism style that had government approval. After refusing to change the film, Parajanov was soon blacklisted from Soviet cinema.
I don't think i understand all the symbolism, but I loved the use of color. It is muted, yes, but also just looks sad and impoverished. Part of this may be intentional, part of it not so much. I suspect that the Russian film industry (much like the Italian film industry), was always behind the times in their use of film techniques and technology. Perhaps I misunderstand, but in the West (i.e. America), anything between Eisenstein and Tarkovsky seemingly does not exist. This film ought to be the exception.