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Una biografía súper estilizada y surrealista del trovador armenio Sayat Nova, cuya vida es representada a través de separaciones no narrativas de imágenes poéticas.Una biografía súper estilizada y surrealista del trovador armenio Sayat Nova, cuya vida es representada a través de separaciones no narrativas de imágenes poéticas.Una biografía súper estilizada y surrealista del trovador armenio Sayat Nova, cuya vida es representada a través de separaciones no narrativas de imágenes poéticas.
- Premios
- 1 premio ganado y 1 nominación en total
Melkon Alekyan
- Poet as a Child
- (as M. Alekyan)
Gogi Gegechkori
- Poet as an Old Man
- (as Giorgi Gegechkori)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaSergei 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."
- Citas
Poet as a Youth: In this healthy and beautiful life my share has been nothing but suffering. Why has it been given to me?
- Versiones alternativasRESTORATION 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."
- ConexionesFeatured in Tsvet armyanskoy zemli (1969)
Opinión destacada
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.
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.
- shusei
- 1 sep 2007
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Detalles
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- País de origen
- Sitio oficial
- Idiomas
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- The Color of Pomegranates
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