Il colore del melograno

Titolo originale: Sayat Nova

1969
T
1h 19min

VALUTAZIONE IMDb

7,6/10

14.926

LA TUA VALUTAZIONE

A surreal biopic of Armenian poet Sayat Nova, told via non-narrative amalgamations of images, hailed as revolutionary by Mikhail Vartanov.

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La vita del poeta armeno Sayat-Nova, dall'infanzia alla morte, il suo viaggio spirituale, le imprese artistiche e i conflitti interiori nel contesto culturale e storico dell'Armenia, salutat... Leggi tuttoLa vita del poeta armeno Sayat-Nova, dall'infanzia alla morte, il suo viaggio spirituale, le imprese artistiche e i conflitti interiori nel contesto culturale e storico dell'Armenia, salutato come rivoluzionario da Mikhail Vartanov.La vita del poeta armeno Sayat-Nova, dall'infanzia alla morte, il suo viaggio spirituale, le imprese artistiche e i conflitti interiori nel contesto culturale e storico dell'Armenia, salutato come rivoluzionario da Mikhail Vartanov.

Regia
- Sergei Parajanov
Sceneggiatura
- Sayat Nova
- Sergei Parajanov
Star

Vedi le informazioni sulla produzione su IMDbPro

VALUTAZIONE IMDb

7,6/10

14.926

LA TUA VALUTAZIONE

Regia
- Sergei Parajanov
Sceneggiatura
- Sayat Nova
- Sergei Parajanov
Star

Vedi le informazioni sulla produzione su IMDbPro

Premi
- 1 vittoria e 1 candidatura in totale

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Trailer 0:57

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Quiz
Sergei Parajanov's 1969 masterpiece "Sayat Nova" was censored, re-cut, renamed (The Color of Pomegranates) and banned; its 1969 behind-the-scenes documentary Tsvet armyanskoy zemli (1969) by Mikhail Vartanov was suppressed and the footage reappeared 20 years later in Mikhail Vartanov's influential documentary Parajanov: The Last Spring (1992), which demystified the unique film language of "Sayat Nova." Parajanov's "Sayat Nova" (The Color of Pomegranates) appeared on many lists of The Greatest Films of All Time (Sight and Sound, Cahiers du Cinema, Movieline, Time Out, etc). Mikhail Vartanov famously wrote: "Probably, besides the film language suggested by Griffith and Eisenstein, the world cinema has not discovered anything revolutionary new until (Sergei Parajanov's) Sayat Nova - The Color of Pomegranates." Michelangelo Antonioni later added that the film "astonishes with its perfection of beauty."

Citazioni
Poet as a Youth: In this healthy and beautiful life my share has been nothing but suffering. Why has it been given to me?

Versioni alternative
RESTORATION PROLOGUE: Two versions of this film have been restored. The Armenian version ('Parajanov's cut') was restored using the original camera negative, provided by Gosfilmofond in Russia as well as a 35mm dupe negative held by the National Cinema Centre of Armenia. The Russian version ('Sergei Yutkevic's cut') has been preserved for posterity using the original camera negative." "The editing and title cards of 'Parajanov's cut' have been reconstructed thanks to a careful analysis of all existing sources, including an Armenian reference print that matches the dupe negative." "The original camera negative has been scanned in 4K by Gosfilmofond in Russia and restored by L'Immagine Ritrovata in Bologna. The sound restoration was made from the original magnetic track, preserved by Gosfilmofond, in addition to the Armenian reference print." "A vintage print of the film, produced on Orwo stock and preserved by the Harvard Film Archive, was used to guide the grating phase." "At the time of the film's release, the Russian censors decided that the film did not reflect Sayat Nova's life and renamed the film 'NRAN GUYNE' which translates to 'THE COLOR OF POMEGRANATES.' Despite this intervention, the film remains internationally recognized by Parajanov's original title SAYAT NOVA."

Connessioni
Edited into Gli ultimi giorni dell'umanità (2022)

Recensioni degli utenti66

Recensione in evidenza

Flapping fish between driftwood

How do you go from rich cinematic intuition to stifled ceremonial posing? I don't get it. Shadows of Forgotten Ancestors is one of the most enthralling films I have seen, it's just an endlessly spinning dance between the camera and a mystical world of song and suffering, spun and diffused into air. It rested on a profound realization that life is both real and has the mechanism of dreams.

It was a multifaceted world of many allusions but all of it was deftly integrated into the experience, you didn't need separate keys. This on the other hand is a notoriously difficult work, for a simple reason; you need a bunch of keys, and most of those are outside the film (it suffered at the hands of Soviet censors, no doubt, my guess however is that Parajanov's authorial version would operate on the same principles).

It is everything that grates at me as outmoded and needless obfuscation in cinematic narrative. Allegory. Symbolism (the nagging notion that the pomegranates ought to 'stand for something'). Cryptic dealings.

Instead of opening up our gaze to a world, it reduces to a set of paintings, supposedly that you have to decode. It is very much a presentation of cultural history, but at the expense of all the distinctly cinematic advantages of the medium.

This mode survives in a way in Peter Greenaway. But Greenaway works from Hamlet as his main reference, so all you need to know about the play is usually inside the play-within. This has no framework. It isn't the stuff that life is made from - it's only the stuff that art is.