The Color of Pomegranates (1969) User Reviews

A New Path for Cinema

[Eumenides_0 · 8/10 · 21 June 2010]

How to portray the life of a poet on film without using traditional cinematic language? Armenian director Sergei Parajanov must have posed this question when he set out to adapt to the big screen the life of poet, national hero and martyr Sayat Nova. To say that The Colour of Pomegranates rejects linear storytelling would be an understatement. To say that it employs non-linear storytelling would be a compliment. I think it is more accurate to say this movie doesn't care about storytelling at all. Finding inspiration in the language of painting, Parajanov turns the life of one man into a series of tableaux vivants.

The movie covers the life of the poet from childhood to death in a monastery, but biographical information is irrelevant. This abstract movie shows his life through the things that surround him - clothes and rituals, the religion, the art, the literature of his country, his family, his poetic muse; the objects and colours and people that left an impression on his imagination. There is no conflict, no goal, no moral, just a life illustrated by symbolic living pictures, each one shot by a static camera.

Many good movies enthral audiences with greater-than-life characters, byzantine plots or catchy, quotable dialogues. But what is the beauty of The Colour of Pomegranates? The beauty of the movie lies in watching a boy lying surrounded by wet books as they dry on the sun, their pages fluttering with the wind. It's the beauty of highly-stylised human figures performing repetitive and hypnotic movements in strange rituals. It's the scenic beauty of how objects are placed in a landscape or in a room, how they move, how they interact with human figures; of how a costume looks on a human body or how colours are distributed across the screen to achieve harmony.

Movies like The Colour of Pomegranates are the reason mass audiences despise art movies: cryptic, frustrating, slow paced, boring. Why would anyone want to watch a movie that requires a reasonable knowledge of Armenian history to merely understand its basic premise? And why would anyone then care to enjoy what they've understood from it? And yet it is movies like this that push forward the art of cinema. Many movies exist that make little use of the possibilities of the film medium. So many use the same medium shots, the same dramatic use of music at the right moment, and nowadays the same teal and orange colours. Most movies at the end of the day aren't more than 19th century novels with movement (most are even adaptations). When cinema language, the language that makes cinema distinct from other art forms, is used, when long takes, wide takes or extreme close-ups are used, filmmakers are accused of pretentiousness. But why bother making a movie that doesn't do what only a movie can do? Well, The Colour of Pomegranates does what only a movie can do. It couldn't exist outside cinema. Released in 1968, in the same year 2001: A Space Odyssey blew the minds of mainstream audiences, Parajanov makes Kubrick's masterpiece look conventional. This movie should be studied the way Eisenstein and Hitchcock's movies are today. It should have changed cinema. Unfortunately, whereas Kubrick had the freedom to distribute his movie, Parajanov's movie was being re-cut, censored and banned by Soviet authorities, which contributed to making it practically unknown to many viewers who'd love watching it. Although an integral version has been available for some decades now, this movie is still looking for an audience. And when it finds one, cinema may change forever.

Beauty, overcoming Time

[shusei · 9/10 · 2 September 2007]

Almost everybody talks about the film's beauty and the difficulty of its understanding. It's true. But the difficulty is not from the director's pretension or other shortcomings.

When this film was first released in Soviet Union, it was shown in third-rated theaters and with limited number of prints. It was not an original version of Sergo Parajanov, because it was re-edited by another director(director's version is said to have been lost for ever, after frequent showing in professionals' circle).

The film's title was also changed--"The Color of Pomegranates" was the title which the administrators of USSR's cinema policy selected to deny "biographical" character of the film. In fact, we can see at the very first title that says "This film is not a biographical film about Sayat Nova...". In short, they didn't admit such an extraordinary approach in making a film about historical important persons.

Parajanov's artistic intention apparently went too far, ahead of his time. He wanted to identify the classic poet with himself through the magical play of cinematography, multi-layered mirror-like structure made of image and sound. "Sayat Nova"--it's me", wrote the director in his screenplay by his own hand.

Soviet censorship may have cut some shots or shortened some episodes, to make meanings and intention,which originally were clear,remain ambiguous. For example, Sayat Nova's anxiety for his Christian homeland threatened by Islamic enemies(this theme is clearly developed in the film's scenario recently published in Russian).Parajanv, an artist indifferent to politic issues, didn't think that religious theme, as well as aesthetic "anomaly", might be very dangerous for Soviet directors after the end of "time of thaw". Thus the film could'n be a full realization of authors's original scenario.

Nevertheless,the difficult situation didn't distort the film's concept and vision as a whole. "Sayat Nova" is still brilliant art of work,and, as many masterpieces of Cinema, will overcome Time by its beauty.

Fascinating and unusual film

[Andy-296 · 8/10 · 7 April 2007]

The Color of Pomegranates (made in 1968, and also released under the name Sayat Nova) is not really a conventional movie. It is more like a series of tableaux "inspired" by 18th century Armenian poet Nova. It is nonetheless fascinating, and should be required viewing for anybody interested not only in Armenian culture but in cinema in general (or, if you wish, the visual arts). This movie has inspired many artists, including some music videos (admittedly not among the arts' highest form), including REM's "Losing my Religion" and Deep Forest's "Sweet Lullaby. There is a heavy homo erotic subtext to many of the tableaux, and as a matter of fact, Paradjanov would later spent several years in jail in the Soviet Union accused, among other things, of homosexuality. Though released under international pressure, it would take him another 16 years to make another movie, shortly before his untimely death in 1990.

the best movie I've ever seen!

[natashadodds · 10/10 · 6 January 2004]

The absolute 'must see'...no movie will ever look the same after seeing this one. This is the alphabet of understanding the art of motion pictures. Before I saw this movie, I thought that movies can be fun, sad, yearning or heart-warming, that they are entertainment for heart, mind or fantasy, that they can have some message, teach you something, that they can improve your morals, that they can hit great technical achievement, but I never realized that movies belong to the family of real arts and that they can hit into deepest,the most pure, the least understanding parts of human soul. Pictures that are changing, moving, pulsating, travel in its own rhythm with its very own sounds and music- that is the art of motion pictures, that is the art of what we call "The Movies". And what is more natural and more appealing to human kind then sense of movement, breathing, living? I can only thank to Sergei Parajanov for helping me to understand this, for opening my "third eye" for movies.

No, This is definitely not Hollywood

[esotericcamel · 8/10 · 28 January 2009]

For those who need an American equivalent to compare to, it is similar to the work of Brakhage or Anger, the American experimental filmmakers.

It is not Hollywood in that the movie does not rely on a plot, although there is a semblance of one present in this particular movie. The life and poetry of Sayat Nova, the great Medieval Armenian Troubadour, albeit abstractly, is the basis for all the images presented. It is also not Hollywood in that there is no dialog. The interest rests in the unforgettable and arresting images, lovingly created and edited together in the manner of Eisenstein. So in this regard it has more in common with silent film.

Yes, this is an abstract film. Yes, it is pretentious. But what is wrong with that? Prtensious is, after all, what most call something that they have a hard time understanding. Make no mistake, this is an art film to the extreme. A film whose primary concern is not to entertain, but rather to express Parajanov's personal view of Sayat Nova,and more importantly, to preserve to film the medieval Armenian culture which was almost completely eradicated in the Armenian Massacre of 1915 at the hands of the Turkish Empire. This film is historically important for this reason alone. The fact that Parajanov was imprisoned by the Russian Government for not conforming to the strict Social Realist code of film underscores this point. This film was a slap in the face to Communist Russia which wanted to erase the old traditions.

There is nothing much you have to get to enjoy this film, except to marvel at images inspired by an ancient little known culture. There is a lot of beauty in these images which probably seem so foreign and alien to Westerners. That is the point. That is the effect that I believe Parajanov is after. Those that don't get it either lack patience and subtlety, or are under the mistaken assumption that good films must follow the American Hollywood script model. The latter would be making the same mistake as the Russians who put Parajanov in the Gulag. No one who as seen even a bit of this film, could deny that it is unforgettable. And that is what to me makes a good film.

Cinema as poetry: remarkable.

[alice liddell · 8 December 1999]

One of the great films in all cinema, virtually incomprehensible to anyone not familiar with Armenian or Georgian history and culture. Whatever the dubious politics in enjoying a subversive political work as an aesthetic spectacle, there is much to astonish. The nominal story concerns an 18th century Armenian poet/national hero/martyr, but Paradjanov rejects biographical narrative in favour of a montage stream of religious, political, cultural, sexual imagery, composition and allegory unparalelled in the history of the medium, although fans of Von Sternberg will not be bemused.

Sacred mysteries of a lost, ancient culture...

[Autonome · 9/10 · 21 December 2004]

Unlike most modern films, Color of Pomegranates does not abandon the subtle, pensive quality of silent film; it is actually a stunning evolution of silent film.

Here Parajanov documents an almost mythical culture lost long ago to history. I believe it is ancient Armenia. It is methodically presented as a slow series of visual artifacts. Each artifact is a complete scene composed foremost of an authentic visual setting, to which is added the hypnotic effect of some simple motion and ambient sounds, the source of which are often not even in view. Together these hypnotic scenes slowly mesmerize and transport the viewer to the mood and feel of a lost culture.

Besides scenes of ordinary ancient existence, which are amazing enough to see, compelling rituals are presented and left as purely mysterious, earthy, and spiritual, which the viewer can only struggle to explain.

The film is also a treasure of authentic clothing and costumes you may otherwise never see.

Color of Pomegranates serves as a surprising unspoken testament to this lost, ancient culture.

I rented this as a movie on DVD, which thankfully seems easy to find in the USA. I highly recommend the DVD, as it also offered a commented version by Parajanov himself, and an incredible interview with Parajanov, before he sadly passed away, in which he describes some of his amazing, tragic life and his epic struggles to create and release his work, most of which, including Color of Pomegranates, was banned or censored in the former Soviet Union. His years WASTED in damn Soviet prison are a true black mark on humanity, and one can only wonder what other fantastic work he might have created had he been free. His own story appears to be worthy of one of his many great films, as it is biblically tragic yet unquestioningly triumphant.

image,music,feeling

[gratefultiger-2 · 10/10 · 26 December 2000]

sayat nova (colour of pomegranates)is i believe one of the supreme masterpieces of cinema.from the opening title the music (armenian blues)? the beautiful images,the study of the life & death of the poet, is unforgettable,it does not matter if one knows no little about the subject of medieval armenian poetry.those ravishing scenes of beautiful people gliding across the screen are so moving & that music!for a film to be a masterpiece it is not necessary to understand it just fall under the spell of a film like no other ,paradjanov was a genius.

Abstract film from one of Russia's greatest directors

[Preston-10 · 6/10 · 9 December 1999]

Sergei Paradjanov's The Color of Pomegranates has to be One of the most oddest films I have ever seen. I felt confused after watching this film, although this must be a typical response to most viewers who watch films that do not have a standard linear plot. The Color of Pomegranates originally interested me after I saw it listed in Time Out's list of the 100 most significant films of the century. The viewer who may be interested in this film may want to do some background first on the 16th century Armenian poet and troubador Sayat Nova who is depicted in this film. The movie is not necessarily a biography of his life but a look into his own personal world. Viewing this film will prove to be quite a challenge for the average film fanatic. Trying to understand the meaning behind each symbol proved easier for me after I researched his background. If you don't like movies that make you think this film is probably not for you.

Totally unique colorful masterpiece by the ultimate Amenian Rebel

[alexdeleonfilm · 10/10 · 16 December 2016]

THE COLOR OF POMEGRANATES (Armenian, Նռան գույնը) -- AKA "Sayat Nova", Viewed at 2014 Yerevan Golden Apricot IFF Director, Sergei Parajanov, 1968. RT 79 minutes. Languages of the poetry: Armenian, Geogian and Azeri Turkish 32E0CC90-FBBD-4A04-9EF6-1C87A431AD42

Generally regarded as one of the greatest masterpieces of the 20th century, the "Color of the Pomegranates" is a dazzling pictographic biography of the famous 18th century Armenian troubadour Sayat Nova (King of Song) revealing the poet's life more through the visualization of his poetry than a conventional narration of the events of his life. Or, one might even say that Parajanov simply used the poetry of Sayat as a launching pad to trip out on his own kind of unique cinematic poetry. However you look at it the result is a memorable film experience.

The eleventh annual installment of the Yerevan International Film Festival opened last night with a grandiose red carpet invitational gala at the Yerevan opera house and the screening of a digitally restored print of this magnificent but all too rarely seen film, a one of a kinder that resists classification. The Color of Pomegranates is in structure a metaphoric biography of the many sided prolific Armenian poet, musician, courtier, and eventually monk, Ashug Sayat-Nova, (King of Song) revealing the stages of his fantastic life visually and poetically rather than literally. The film is presented as a virtually silent movie with active tableaux depicting Sayat's life in eight chapters: Childhood, Youth, The Court of the prince, The Monastery, The Dream, Old Age, The Angel of Death and Death. There are sounds and music and occasional singing but almost no dialogue. Each chapter is indicated by a title card and framed through both the director's imagination and Sayat Nova's poems. Georgian actress Sofiko Chiaureli plays six roles in the film, both male and female.

Among other things this film celebrates the survival of Armenian culture in the face of oppression and persecution. Sayat was executed and beheaded when he refused to renounce his Armenian Christianity before conquering Persian invaders. Visually luscious with many images that are highly charged such as blood-red juice spilling from a cut pomegranate onto a cloth and forming a stain in the shape of the boundaries of the Ancient kingdom of Armenia -- dyers lifting planks of wool out of vats in the colors of the national flag, and so forth ... This film is on many critical lists of the greatest films of all time. A dazzling festival opener. Parajanov, who was a maverick Soviet film director working often in the Ukraine and Georgia was constantly hounded by the Soviet establishment, but he is a national hero here in Armenia with a museum devoted entirely to him alone. His abstract non- linear films were regarded as provocations by the Soviet censors who couldn't even understand them but assumed that they must be subversive because Parajanov himself absolutely refused to toe the party line in his private or artistic life. As a result he had to spent much time in Soviet jails which limited his total output, but all of his films are regarded as landmarks of one kind or another and will all be shown here, an unusual opportunity to catch up with the rarely seen works of a little known cinema master.

Visually interesting, flat affect

[davo · 6/10 · 24 February 2000]

I found this film visually interesting, would have perhaps been more interested in the subject matter if I had been familiar with the life and work of the poet. My viewing companions found the film boring, for although there is motion there in not much ACTION, (not to mention plot,) and the acting stylised such that the actors' affects are uniformly flat, as if they were portraying painted ikons rather than living beings.

Gorgeous

[shh-3 · 8/10 · 15 January 2001]

A beautiful, moving, lyrical movie. This allegorical tale is visually stunning and at times terrifying. Each scene is like a painting and the colors and costumes alone are worth the viewing. The movie may be abstract but the payoff for anyone with a decent attention span is wonderful. The soundtrack is equally gorgeous, and the movie is utterly captivating.

It's definitely not for everybody

[AlsExGal · 7/10 · 1 September 2019]

This is a Soviet arthouse film from writer-director Sergei Parajanov. Ostensibly about the life of medieval Armenian poet and troubadour Sayat Nova (which was the film's original title), this is instead a series of tableaux meant to visualize the "mood and feeling" behind the artist's work, as well as the Armenian people and their cultural heritage. It's a series of brief, carefully framed shots, with some movement within the shot but none by the camera, that look like paintings come to vibrantly-colored life. There is no narrative at all, and nothing in the way of a traditional biopic. It's unusual, a continuation of the style Parajanov demonstrated with his earlier Shadows of Forgotten Ancestors (1964). If you know what you're in store for, then this can be enjoyed as an artistic experience, but anyone put off by non-traditional filmmaking will have very little tolerance for this. Its rather brief 79-minute runtime helps soften the experience, as well.

This film also features several sheep getting butchered, and a half dozen or so chickens beheaded and their flailing bodies cast upon the floor around the main character.

I am Perplexed

[emryse · 5/10 · 20 January 2022]

This film may be genius, it may be the best thing ever to be put to screen but I hang my head in shame and tell you. I don't get it. I was left utterly perplexed by this from start to finish and doubt I will ever fully understand what it was going for. I will give it credit for it's beautiful cinematography but in terms of acting and story I couldn't really give any meaningful analysis. I won't say anything more in fear of embarrassing myself but as I have no idea what I was watching I have decided to go down the middle and give this a 5/10, it deserves that at least for how good it looked. If you understand what even one scene here is supposed to represent then you're a cleverer person than me.

Visually stunning but somewhat boring

[the_lotus_eater-844-56911 · 15 June 2020]

The film is, of course, filled with surreal and fantastical imagery. Clearly brimming with spiritual and cultural meaning and the film takes us through the life of the poet. The films music and sound also adds to this almost dreamlike atmosphere. You let the words and sounds wash over you whilst the images play out in front of you. However, even the most beautiful images lose their magic when viewed through glazed eyes.

Unfortunately there is no getting away from it, this film is hard to maintain concentration with. Now this is through design. It isn't intended as a biopic of the poets life, but more as an abstract biopic of the poets work. Every image on screen is great, usually vibrant and surreal. The issue is that as there isn't really a plot/story, there's nothing to keep you engaged, so you end up just looking at a series of images. Again, whilst all are fantastic, they lose their magic quickly and they aren't in service to anything, aside from the allegorical/metaphorical/symbolic meaning (although lots of the symbolic meaning isn't very difficult to grasp).

So whilst visually beautiful and defiantly unique, if you don't have patience or require some form of story you may be better off watching Jodorowsky films instead.

PS This is only my first viewing, so my opinion may change if I see it again. Issue is that it was too dull to warrant a second viewing, although short.

Visually stunning, unconventional

[batispexa · 10/10 · 7 January 2011]

I did not know the story of the poet, when I watched this film. I read it later and discovered that I had guessed it right. So, for all the people saying that this film has no storyline--it is there. It is not conventional though. I'd recommend it for people who love film and art, especially abstract art. It is visually stunning, hypnotizing, with series of shots that can be compared to paintings. The play on rituals, costumes,history, is amazing. All of those are director's interpretations of the everyday objects, clothing, sounds... It can be weary if a viewer does not like experimental, abstract art and is looking for an obvious storyline. Also, knowing some facts about the poet Sayat Nova would take the guessing part away (like, oh, I guess this part means that he went to the monastery) and will help the viewer focus on the film more. However, as I said, I watched with no prior research and still loved it.

As far from a Hollywood movie as you can get.

[lee_eisenberg · 10/10 · 14 August 2005]

"Sayat Nova" (also called "The Color of Pomegranates") is probably the best example of a movie that is not for people with short attention spans. You see, there is almost no dialogue in it; the movie is mostly about imagery. You will most likely get completely befuddled if you do not know the subject matter (it's about Armenian poet Sayat Nova). As for me, I found Sergey Paradjanov's use of poetic imagery quite fascinating. And just as an extra thing: that woman playing with the lace was actually kind of hot the way that Natalie Wood was. But my point is that "Sayat Nova" will not appeal to people who sit around watching movies directed by Michael Bay or produced by Jerry Bruckheimer.

"Paradjanov made films not about how things are, but how they would have been had he been God." Alexei Korotyukov

[wobelix · 10/10 · 12 October 2002]

Time has not been kind to this film. Not yet 40 years old but the stock is worn down and the colours faded, with the reds and the blacks standing out. Which lends the images -symbolic, poignant and full of atmosphere- an extra dimension, since it renders the idea of films of the beginning of cinema. As a kind of bridge towards the era of this "hallucinatory epic account of the life of 18th century Armenian national poet Sayat Nova". It remains a powerful and very beautiful film, not like any other. Time has been good to this film... "I don't want to found any school", Paradjanov said. Nevertheless he has set fantastic examples.

Utterly beautiful

[princemyshkin · 10/10 · 13 October 2002]

Hauntingly beautiful, and not just visually. Fantastically evocative music. Don't bother with comments from the USA on this page, in fact can you all please stick to reviewing the second rate 'movies' you understand and stop cluttering up these pages. Thanks! Basically, a stream of gorgeous artefacts, clothes, scenes, and people, accompanied by poetry.

An extension to 'The Holy Mountain'.

[Amyth47 · 6/10 · 2 January 2019]

My Rating : 6/10

One of the weirdest movies ever made - it's basically a recreation of weird images one after the other.

The only way to truly explain is to actually watch it for yourself. Put this alongside 'The Holy Mountain' and the two make the weirdest movies ever to be made in cinema history. I've never seen anything like this before and since.

Unique movie about a unique Trans-Caucusus troubador, done in a unique style

[Red-125 · 10/10 · 25 May 2020]

The Color of Pomegranates (1969) (Also known as Sayat Nova) was written and directed by Sergei Parajanov.

Sofiko Chiaureli portrays the Poet as a Youth, the Poet's Love, The Poet's Muse, Mime, and the Angel of Resurrection. It's amazing that she portrays the poet and his love. Apparently, in the Persian tradition, lovers begin to resemble each other.

The movie depicts 18th Century Trans-Caucasus culture: from the countries of Armenia, Georgia, and Azerbaijan.

The IMDb listing describes the movie this way: "A super-stylized, surreal biography of Armenian troubadour Sayat Nova, whose life is depicted through non-narrative amalgamations of poetic images." That's a very accurate and useful summary.

Sayat Nova (1712 - 1795) was a historical figure. He was a gusan or troubador poet/musician. He composed beautiful verse, which is known widely in the Trans-Caucasus region. His instrument was the kamancha--a bowed instrument with four strings that sounds like a violin.

As shown symbolically in the movie, Sayat Nova was in love with the King's sister. Given the difference in their rank, this love could never be permitted.

However, Sayat Nova did become the Georgian court poet. The poems were intensely romantic. He wrote in Armenian, Georgian, Azerbaijani, and Persian. Sometimes he wrote poems that included some or all of these languages. These poems weren't simply recited--they were sung.

The style of poetry, called Ghazal, is extremely complicated. Here's a description that I found: "A Ghazal is a poem that is made up like an odd numbered chain of couplets, where each couplet is an independent poem." (It's more complex than that, but I don't really understand poetic forms, and I stopped at that point.)

One of his couplets was:

Whether dressed in coarse linen or gold brocade, You turn it into silk, my love.

The movie doesn't have a simple narrative biopic style. Parajanov created a new cinematic language. There's no real dialog. Instead we see images described a poetic fantasies. Many of the images are symbolic, and not always easy to understand. (Probably they make more sense to people within the Trans-Caucasus culture.) However, the beautiful colored scenes are attractive to all of us.

I've never seen a movie quite like this one. It opened new worlds to me--both cinematic and cultural. The movie has a very high IMDb rating of 7.7. To be honest, I didn't know how to rate it. I even considered not rating it at all--just reviewing it. It didn't appear to me to belong on the continuum of all the other films I've rated over the years. Finally, I thought, "Well you loved it. Rate it 10." *** We saw this movie in a two-DVD Criterion Collection edition. The first DVD was the movie itself. The second DVD contained a wealth of specials. I've listed them below. If you think the movie wouldn't appeal to you, the specials won't either. If that's the case, I would just ignore them.

If you think you'd like the movie, try to find the Criterion Collection version. In that case, what I've written below can be your guide. Note that the film titled Decoding The Color of Pomegranates (2017) directed by James Steffen, could be watched before you watch The Color of Pomegranates. The film will make more sense to you if you see Steffen's explanation of the symbolism. __________________________________________________________________ Here are the special films:

Tsvet armyanskov zemli (1969) (Short) "Parajanov: The Color of Armenian Land" Directed by Mikhail Vartanov (1969) 19 minutes. Director Vartanov shows us Armenian architecture, and ancient and contemporary art. There's no dialog.

The film includes brief footage of Parajanov directing Sayat Nova. It wasn't released until 43 years later (2012) because the artist showed Parajanov at work and he was blacklisted for that reason.

The movie has a weak IMDb rating of 6.6. I thought it was much better, and rated it 9. ______________________________________________________________ James Steffen (Director) The Making of Color of Pomegranates. (19 minutes.) Director Steffen shows us that Parajanov created a new cinematic language. Steffen uses the phrase "Poetic Cinema." He calls the movie a poetic fantasy on the life of Sayat Nova. We learn that Parajanov was punished because he refused to adhere to the standard style of Soviet Realism. __________________________________________________________________ Decoding The Color of Pomegranates (2017) Directed by James Steffen (42 minutes). A video essay containing a close reading of the symbols and references of Color of Pomegranates. Very helpful--consider watching it before you see the movie itself. __________________________________________________________________ Sergei Parajanov: The Rebel (2003) 51 minutes. Directed by Patrick Cazals. Filmed in the Sergei Parajanov Museum in Armenia. This movie includes an interesting interview with Sofiko Chiaureli, the star of Parajanov's masterpiece, The Color of Pomegranates.

This movie won't really stand on its own. It will make more sense once you've seen The Color of Pomegranates. This film carries an fairly weak IMDb rating of 6.8. I rated it 9. ____________________________________________________________________ The Life of Sayat Nova (1977) is a 26-minute film that appeared on French television. It was directed by Carlos de los Llanos. This movie isn't so much about Sayat Nova as it is about his poetry and his music. Much of the screen time is devoted to a musical ensemble called "Sayat Nova," that performs his music and his poetry. Sayat Nova's preferred instrument was the kamancha. It's a bowed string instrument. It looks strange to our eyes. The notes produced by the kamancha sound like violin notes, but the music is in the Persian (Eastern) style, not the Western style to which we are accustomed. ___________________________________________________________________ The Last Film (2015) is an experimental three-minute movie directed by Mantiros Vartanov, the son of Mikhail Vartanov. It stars Taguhi Vardanyan, who was, indeed, a child actor in a Russian movie called Den bumazhnogo zmeya or Kite Day (1986). There are brief clips of a young girl being asked if she wants to be in a movie (yes) and if she wants to become an actor when she grows up (yes). (These looked like real clips from the casting session, but they could be reproductions made to look old.)

In any case, Vardanyan is now an extremely elegant woman, wearing a classic black dress, who tells us that she gave up her acting goal in order to become a violinist. However, as far as I can tell, she's not a violinist, but is now an major Armenian TV personality.

Anyway, that's the movie. It was done as a memorial to directors Sergei Parajanov and Mikhail Vartanov.

The Colour of Pomegranates

[jboothmillard · 7/10 · 10 April 2014]

This was another foreign film I found listed in the book 1001 Movies You Must See Before You Die, as with many of the other titles I watched previously I didn't know what to expect, but I hoped for the best with this Armenian/Soviet Union film. Basically this film is supposed to be a biographical piece about Armenian poet Arutiun Sayadin, formerly the apprentice of a carpet weaver who rose to become first the court minstrel Sayat Nova ("the king of song"), and then an archbishop. But the film is much more surreal and obscure than that, and there seems to be hardly any real plot at all, it is simply a series of fascinating imagery, including by the leading actress Sofiko Chiaureli, playing both male and female characters. Rather than focusing on the depiction of actual events of the real person involved, the film is a depiction and symbolisation of the many ideas written in Sayadin's poetry, the actors on screen dress up and create things to portray religious iconography and nationalist folklore as big art pieces and illustrations. Starring Sofiko Chiaureli as Poet as a Youth / Poet's Love / Poet's Muse / Mime / Angel of Resurrection, Vilen Galstyan as Poet in the cloister, Melkon Alekyan as Poet as a child and Giorgi Gegechkori as Poet as an old man. The title comes from the fact that there are pomegranates seen on screen, and specifically the colour of them, the red colour is seen on screen in many of the artistic visuals, this film works especially well if you have keen eye or interest in art, you will not necessarily be able to decipher the ideas behind what is created in each scene, but it is a remarkable and beautiful biographical drama. Very good!

A Spiritual Experience

[Moviespot · 10/10 · 18 September 2007]

When watching this movie , one has to let loose everything that applies to 'normal'cinema. Just sit , watch and undergo this excellent and magnificent piece of visual art. For me , a Westerner with no knowledge whatsoever of Armenian History/poetry the visuals are very stunning and could have come from another Galaxy for that matter... but what a beauty is presented in this stunning pallet of images ! I know nothing of the Poet who's life is supposedly depicted here , but i don't feel that as a necessity ... Truly original cinema is made here by Paradjanov... A stunning experience is presented to everyone who is able to ' let loose ' and undergo the beauty of this 80-minute wonder ! Be taken by it and be blessed when you saw it ! One of THE most impressive Movies i'v ever watched...a religious experience!

Visually very interesting

[saraccan · 7/10 · 9 January 2019]

It's very interesting visually and you can see how some modern movies took inspiration from it. It was almost like looking at an abstract painting for me. Not knowing exactly why but it kind of made me want to look at it and understand the deeper meanings behind the imagery.

It's a biography of Armenian poet Sayat Nova told from the director's depictions of his poems. Though I wish I knew more about his life prior to watching the movie.

Beautiful-but hardly any action

[polishanya · 5/10 · 26 October 2007]

This movie is rather difficult to understand unless you know some background. Those people who don't want to think while watching a movie should not watch this. Some say that there is no plot but if you read about the movie background you will see a plot. My advice is to read about it before watching the movie. Although this film has almost no action, it is very beautiful with many references towards cultural traditions and rituals. It's probably not the movie to watch on a sleepover with your friends, but I recommend watching it when you have time to sit and think. The beginning, I must admit, was rather confusing and therefore boring, but if I had read some background previously, I would have found it more comprehensive. Otherwise, the filming is absolutely fascinating and very beautiful - it's less of a movie than a set of paintings.