24. Thematic and artistic originality story by Ch. Aitmatov "Jamilya".
Chingiz Aitmatov was determined in literature for a very long time, he was looking for heroes, themes, plots. Its heroes are ordinary Soviet workers who firmly believe in the bright, good beginnings of life created with their most active participation. These are pure and honest people, open to everything good in the world, trouble-free in business, sublime in aspirations, direct and frank in relationships with people. So, in the stories “Jamilya” (1958), “My Poplar in a Red Scarf” (1961), “The First Teacher” (1962), the harmony, purity and beauty of the souls and thoughts of the heroes are symbolized by singing poplars, spring white swans on Lake Issyk-Kul and it is a blue lake itself with a yellow collar of sandy shores and a bluish-white necklace of mountain peaks. With their sincerity and directness, the characters found by the writer, as it were, suggested to him the manner of narration - excited, slightly elevated, tensely trusting and, often, confessional.
In the stories "Jamilya" and "The First Teacher" Aitmatov captures bright pieces of life, glowing with joy and beauty, despite the inner drama that pervades them. But those were precisely the pieces, episodes of life, about which he spoke sublimely. For this reason, critics have called
their romantic ones.
All-Union, and after that, European fame was brought to Aitmatov by the story "Jamilya", published in the journal " New world” in 1958 and named by Louis Aragon the most touching modern love story.
In "Jamila" and "The First Teacher" the writer managed to capture and capture bright pieces of life, glowing with joy and beauty, despite the inner drama that pervades them. But those were precisely the pieces, episodes of life, about which he spoke sublimely, to use the famous Leninist word, spiritually uplifting, himself, filled with joy and happiness, as the artist who sets the tone in Jamil and The First Teacher is filled with them. (This is how M. Gorky once spoke about life in Tales of Italy.) For this, critics called them romantic, despite a good realistic basis, as the writer’s talent developed, he deepened into life, subjugating all romantic elements.
In this short story, one very valuable feeling for the writer prevails: an inner readiness to accept the fullness and amazing diversity of life, the naturalness of every spiritual movement, coming from an organic confidence in one's dignity, in one's humanity. Free, easy breathing is felt in this slightly naive, trusting prose. It is defenseless against the dogmas of normative criticism; it is open prose - open to blasphemy and delight; it is carelessly open to human gossip, judgments and opinions. It is organic and unconditional, like life itself: you can accept it or not, but it exists as an indisputable fact of literary development.
This is a story about the eternal and insatiable desire of man for freedom. It became a hymn to freedom, a small, although endless story in its ambiguity "Jamilya". The still young writer touched in this simple story to the complex knot of eternal human passions, which at each stage of socio-political development take on uniquely specific features.
In "Jamila" the position of the writer is stated firmly and resolutely; he is attentive to the manifestations of true life, and at the same time, everything inert, philistine, programmed in human nature is alien to him. Fundamentally important for the young writer, who determines his path in literature, was the theme of art, which is revealed in Daniyar's songs. These songs transform human soul, open to people the deep springs of the meaning of their lives and at the same time give a person a sense of freedom in this world full of old customs, conventions and prejudices, tribal, class, national. The melodies and songs of Danayar so exalt and transform Seit and Jamila. And even this lonely and clumsy Daniyar himself, over whom the Ail boys laugh, suddenly transforms before the eyes of his companions: into a magician who works miracles.
From the very first pages of the story, Jamila appears at first glance as an ordinary daughter-in-law, hardworking, dexterous, not violating tribal and family customs. Maybe you can find a little more independence and independence in it than in others, but this is explained by the fact that she, the daughter of a herdsman from the village of Bakair, was used to driving herds together with her father, saddle and go around horses, participate in the national Kyrgyz horse races. horses. Of course, the narrator Seit recalls the story of Jamila and Daniyar a few years later, knowing the ending of their love, and therefore highlights certain features in the character of the heroine, which, it seems to him, determined Jamila's behavior and bold choice, but then, in the hot summer of forty-three, she did not really stand out among her peers, if we keep in mind her emotional and spiritual appearance.
Beautiful, slender, frisky, young, sharp-tongued. This brings Jamila closer to her peers. “When Jamila laughed,” the narrator recalls, “her blue-black almond-shaped eyes flashed with youthful enthusiasm, and when she suddenly began to sing salty ail songs, an ungirlish gleam appeared in her beautiful eyes.”
Seit notes in the character of Jamila even unattractive, "some masculine features, something sharp, and sometimes even rude." She was the only daughter of her herd father - "both for a daughter and for a son." If the neighbors hurt her in vain, she did not succumb to them in swearing, and “there were cases when she dragged someone by the hair.” So, in describing the character of Jamila, the writer does not even seek to highlight any special romantic features. The narrator notes that from the very first days, when Jamila came as a daughter-in-law to the Sadvka family, she “turned out to be not what a daughter-in-law should be”: she did not bow her head in front of her elders, although she respected them, listened to them; She spoke directly what she thought, was not afraid to express her opinion. The mother-in-law was also embarrassed by something else in Jamil: “She was too frankly cheerful, like a small child. Sometimes, it would seem, quite for no reason, she began to laugh, and even so loudly, joyfully.
Seit respects the old customs of the clan adat, according to which all people of the same tribe were considered relatives. Without a shadow of irony, he describes life together two families, the Big and Small Houses, their relationship with their own mother and younger mother; after the departure of four brothers to the front (of whom only two are brothers), he feels himself to be the breadwinner and protector of two families. He loved Jamila dearly, and she loved him. But here's an interesting detail: they "did not dare to call each other by name," since this was not supposed to be done by people from the same family. Jamila for Seit was "jene" - the wife of her elder brother, and Seit for Jamila was the younger brother of her husband, "kaini".
Quite seriously, Seit is trying to protect Jamila from the annoying courtship of adult guys in the village, former dandies - in this he also sees his duty, prescribed by tribal customs. And, probably, because the story is told through the lips of a person who zealously guarded the customs of adat, Jamila's bold act looks even more reckless, and the impact of Daniyar's art is even more irresistible,
To understand the deep meaning of what happened, you need to keep in mind the external ordinariness, then the mediocrity of Daniyar. A tall, round-shouldered soldier, limping on his left leg, he was withdrawn and silent. After haymaking, in anticipation of dinner, everyone gathered at the hut, and Daniyar went to the guard hill and sat there until dark, "disheartened and sluggish" resting. He did not participate in general conversations, was free from the prideful desire, usual for a young horseman, to excel at the races, in the competitions of singers, in the cheerful games of the Kirghiz.
And on the guard hill, where Daniyar liked to sit for a long time in the evenings, hugging his knee, he “looked somewhere in front of him with a thoughtful, but bright look. And again it seemed to me, - says Seit, - that he was listening intently to some sounds that did not reach my ears. At times he became alert and froze with wide eyes. Something tormented him, and I thought that now he would get up and open his soul, but not in front of me - he did not notice me, - but in front of something huge, immense, unknown to me.
These are the main characters that appear at the beginning of the story before the reader. The relationship between the two of them - Seit and Jamila - is clear from the first pages. They love each other like relatives, like brother and sister, although Seit feels something more for his "dzhena": he has an adolescent love for a beautiful young woman. He warily follows the "strange, stubborn looks" of Daniyar when he looked at his "dzhene". Seit notices “sullen admiration” in these looks: “And there was something kind, all-forgiving in his look, but I also guessed in him a stubborn, hidden longing.”
The relationship between Jamila and Daniyar is more complex. We do not know if he noticed this only daughter-in-law from the Small House before, before meeting at the current, before the foreman Orozmat instructed three of our heroes - Seit, Jamila and Daniyar - to carry grain to the railway station. Apparently, Jamila was almost unfamiliar with Daniyar, because, going on the first flight to the station, she tells him with a sly smile: “Hey, how are you, Daniyar, or what? You are a man in appearance, let's be the first to open the way!
On that first morning on the lek, Daniyar was struck by Jamila's "decisiveness and even defiant self-confidence". He was visibly embarrassed when, without any hesitation, she suggested that he carry sacks of grain with clasped hands together. “And then every time they brought the bags, tightly squeezing each other’s hands, and their heads almost touching, I saw,” recalls Seit, “how painfully embarrassing Daniyar is, how tensely he bites his lips, how he tries not to look at Jamila’s face” . This is the first meeting of our heroes. Then their love story begins. Chinviz Aitmatov, intending to show this most intimate and at the same time the most ordinary human feeling in a short story, understood, of course, how difficult the creative task was for him, the artist. For almost three thousand years, literature and other forms of art - painting, sculpture, theater, music - have explored and sung about love. The writer chose a rare, unusual plot, but the last straw that led to the instant crystallization of the creative idea was the happy idea to make a young, novice artist Seit, who comes from the same village of Kurkureu, a narrator-narrator. This meaningful device, firstly, freed the writer from the need to introduce detailed, obligatory details and scenes of love in an objective presentation, and secondly, it helped to express the complex artistic concept of the story, which by no means boils down to a beautiful love story. And, talking about the manners and customs of the clan, Seit from time to time passes to a direct depiction of individual scenes. But all the time the point of view of adult Seit is present in the story. When the boy Seit one evening by the fire asked Daniyar to tell something about the war, and he refused, the writer gives two emotional assessments at the same time. The boys then, by the fire, after the glory of Daniyar: “No, it’s better for you not to know about the war!” - they only understood that “you can’t just talk about the war like that, that this won’t turn out to be a fairy tale for a dream to come.” Seit was then simply "ashamed of himself." The next phrase refers to an adult narrator who recalls that time: "The war is baked in the depths of the human heart, and it is not easy to talk about it."
We don't see the beginning of feeling in Jamila's heart. In the same way, we do not know how Daniyar fell in love, what captivated him in Jamil. On the last pages of the story, we hear only a few affectionate words spoken by lovers to each other on that stormy night. Before showing the emotional shock experienced by Jamilya and Seit from Daniyar's songs, it is important for the writer to reveal the moral beginning of the singer's talent, to feel the character of a lonely artist, for the time being closed in himself. To do this, the author introduces a memorable episode with a seven-pound sack of grain, which Seit and Jamil slipped imperceptibly, for the sake of a joke, to Daniyar. They did not know that Daniyar would take their joke quite seriously. “He stood on the britzka, anxiously examining the sack, and, apparently, pondering what to do with it. Then he looked around and, noticing how Jamila choked on a laugh, blushed deeply: he understood what was the matter. Daniyar did not ask for help, as Seit and Jamila expected, but put a bag on his back and carried it to the ladder. He only began to fall harder on his injured leg. Jamila's joke turned into an immoral act. She tried to correct the situation, caught up with Daniyar and shouted: “Drop the bag, I was joking!” - but Daniyar did not listen. “He walked slowly, carefully bringing his wounded leg. Each new step, apparently, caused him such pain that he jerked his head and froze for a second.
Sent by the bewildered Jamila, Seit runs up the ladder to help Daniyar, but from under his elbow, he croaked menacingly “go away!” - moved on. It was here that Seyit saw his face: “On his darkened wet forehead, the veins swelled, his bloodshot eyes burned me with anger.”
A minute later, Daniyar, dropping the bag and limping, became the same again, although "his arms hung like whips." But the attitude of people, and above all Jamila and Seit, towards Daniyar has completely changed. The episode at the station helped them see another Daniyar, who was hiding in this unsociable, taciturn guy. Daniyar aroused in them now not a condescending-pitying feeling, but sincere admiration for his strong characters. And his isolation came, it turns out, not from weakness, but from an iron will, from tremendous spiritual concentration.
“When Daniyar sang, I saw him himself, little boy, wandering along the steppe roads. Maybe then songs about the homeland were born in his soul? Or maybe then, when he walked along the fiery versts of war? - Seit tells in detail about the impact of Daniyar's art on his listeners, mostly, however, on himself. Jamila's perception can only be judged by Seit's experiences. That first night, Jamila listened to him, sitting in the britzka. The girl did not rush after Daniyaram when he, having unexpectedly finished singing, drove the horses at a gallop. “As she sat with her head bowed on her shoulder, she remained sitting, as if she was still listening to the sounds that had not cooled down somewhere in the air. Daniyar left, and we, - Seit recalled, - did not utter a word until the very village. And did you have to do it?"
But after a few days, Seit notices already quite unambiguous changes in his "jam". “And how suddenly Jamila has changed! - he says. - As if there was no that lively, tongue-tied laughter. Spring light melancholy veiled her dimmed eyes. On the way, she constantly thought hard about something. A vague, dreamy smile wandered on her lips, she quietly rejoiced at something good, which only she knew about ... She shunned Daniyar, did not look into his eyes.
Once, at the current, Jamila offered to wash Daniyar's tunic: “You took off your tunic, or something. Let's do laundry!" She said this "with impotent, tortured annoyance." The author is laconic, but these three words reveal the inner state of the heroics. But after this, Chingiz Aitmatov, true to his cinematic principle of vision, gives a whole characteristic scene in which big plans we can observe Jamila very closely: “And then, having washed her tunic on the river, she laid it out to dry, and she herself sat down beside her for a long time, diligently smoothing it with her palms, examining her shabby shoulders in the sun, shaking her head and again began to smooth, quietly and sadly” .
Jamila languishes with feelings growing in her soul.
And one evening, when in Daniyar’s melody “there was so much tender, penetrating melancholy and loneliness that tears rolled up in my throat from sympathy and compassion for him,” one evening Jamila, walking, as usual, across the steppe behind Daniyar, “thrown her head, she jumped into the britzka on the move and sat down next to him... Daniyar sang, as if not noticing Jamila beside him... Her hands dropped relaxed, and she, clinging to Daniyar, lightly leaned her head against his shoulder. Only for a moment, like the interruption of a spurred pacer, did his voice tremble - and sounded with renewed vigor. He sang about love.
This is the culmination of Daniyar's melody. At that moment, Seit saw in the wide steppe, under the starry sky, two lovers. It was really "new, unseen happy people": Daniyar's eyes seemed to burn in the dark; Jamila, "so quiet and timid, with tears glistening on her eyelashes," clung to him. That evening, shocked Seeckt, for the first time, finally understood what was tormenting him - he understood his vocation as an artist.
The writer understood that the story could not be kept on this piercing lyrical note for a long time, otherwise he was threatened by both sweetness and pomp. And he abruptly cuts off Daniyar's song - at that moment when Jamila, as if in an obsession, suddenly "impulsively hugged him, but immediately recoiled, froze for a moment, rushed to the side and jumped off the britzka."
The music ends, and the writer again returns his heroes to the earth, to real everyday conditions. Jamila sternly, barely holding back her tears, scolds Daniyar, who stopped in silence and Seit, who stared at her, who was surprised at the sharp change in the mood of his “dzhene”. Later, a few years later, he will add understandingly: “But it was not worth guessing: it was not easy for her, because she has a legal husband, alive, somewhere in the Saratov hospital.”
Jamila faced a difficult choice between the inert customs of the village and a new, free feeling, between Kadyk and Daniyar.
Having known love for Daniyar, Jamila realized that she had not even guessed about this feeling before. She passionately whispers to Daniyar on their wedding night: “I have loved you for a long time. And then I didn’t know - I loved and waited for you, and you came, as if you knew that I was waiting for you! »
She understood the inferiority and shallowness of her husband Kadyk’s attitude towards her, who in every letter from the army after bowing to all the relatives and aksakals of the village, adding the only phrase addressed to his wife: “I also send greetings to my wife Jamila ...” And she is right when she says to Daniyar about her husband: “He never loved me. Even a bow, and then at the very end of the letter attributed. I don’t need him with his belated love, let him say whatever he wants! So, the choice had to be made between love and a cold, familiar marriage. True, on the side of Kadik were the centuries-old traditions of tribal relations, the harsh prescriptions of the Muslim adat, the enormous force of habit and the so-called public opinion of the inhabitants of the village.
Even on the first pages of the story, Seit told how the eldest mother secretly dreamed of someday putting Jamila in the place of the head of the Big House, making her the same as herself, “an imperious mistress, the same ba6iche, the keeper of the family hearth.” “Thank Allah, my daughter,” mother Jamila taught, “you have come to a strong, blessed home. This is your happiness. Women's happiness is to give birth to children and to have prosperity in the house. And you, thank God, will have everything that we, the old people, have acquired, because we won’t take it with us to the grave. ” And after Jamila left the village of Kurkureu, her fellow villagers condemned her deed in chorus: “She is a fool! She left such a family, trampled on her happiness! .. What did she covet, one asks? After all, he has only an overcoat and holey boots! .. Well, the beauty will come to her senses, but it will be too late.
But after the departure of Jamila, the old 6ai6iche, the head of the Big and Small houses, faded, internally faded. No less important is the fact that the difficult process of the onset of a new morality, new human relations continues after Jamila's departure. The blow inflicted by Jamilya and Daniyar on the old, inert morality did not remain without consequences. The third resident, a young novice artist Seit, is also leaving. When it was discovered in the family that Seit was chasing everything about Jamil and Daniyar, Kadik, ex-husband Jamili, who returned from the hospital, called Seit a traitor.
Having known the highest spiritual and emotional rise, having touched the secret of true art and heat true love, Seit could no longer endure the wingless, mundane relationships in the family, could not hear the flat, vulgar statements of Osmon and Kadik, narrow-minded, narrow-minded people. He often recalled his "jam" and Daniyar, they remained for Seit an example of moral highness and poetry. “And I felt an unbearable desire,” Seit admits, “to go out onto the road, to go out, like them, boldly and decisively on a difficult path for happiness.”
The narrative tone of "Jamili" is by no means unambiguous: the story of triumphant love and triumphant art is permeated with dramatic, tragic tones. This feeling is created, probably, by the fact that the cards of the prosperous Big House are replaced at the end of the story by sharp dramatic fights. In the war, the sons of an old Kyrgyz mother, Baibiche, are killed, leaving the village Jamil and Daniyar. With a duffel bag over his shoulders, Daniyar walked impetuously, the flaps of his open overcoat whipped over the tarpaulin tops of his worn boots. Jamilya, wearing a white scarf and a quilted corduroy jacket, walked beside him, holding on to the strap of Daniyar's sack.
In "Jamila" the writer preferred to look at the world with open eyes, not rejecting whimsical unexpected life turns. A story-question, a story-reflection, a story reminiscent of a lyrical song of a wide dramatic range - such was Jamila.
"Jamilya" was a happy discovery of the writer.
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Initially, the story "Jamila" by Chingiz Aitmatov was called "Obon", that is, "Melody". Indeed, music in it is the main meaning-forming element.
To paraphrase Nietzsche, who called his book The Birth of Tragedy from the Spirit of Music, Aitmatov's story can be said to be about the birth of love from music. And the Kyrgyz writer himself was rare even among people who were committed in spirit and soul to music, sound, polyphony, counterpoint.
In the story, both Jamilya and Seyit fall in love with the gloomy, unsociable Daniyar - he sings so beautifully! Sings about the earth, about the motherland, about beauty. But Daniyar's song is perceived by them as his voice inner world, manifestation of his personal qualities, as a signal to the outside. And this signal is very readily perceived by both. At the same time, Aitmatov organizes the structure of the story in such a way that the reader knows almost nothing about what Jamila Daniyar thinks about, and she about him. We observe what is happening from only one point of view, we see everything through the eyes of Seyit, who is assigned the role of a certain choir in ancient Greek tragedy, if we use the concepts of theatrical aesthetics. In this regard, we recall the subtle observation of the same Nietzsche, who believed that it was the choir, that is, music, “equal in strength to Hercules himself,” that serves as the main way of expressing the author’s thought in the ancient Greek theater.
Here I want to reflect on what music meant to Aitmatov in general. And she meant a lot, although according to my personal observations, the writer did not seem like a music lover, sobbing over the chromatisms of Liszt and Schubert or Tchaikovsky's Pathetic Symphony. In general, I would be careful not to call him a connoisseur of classical music. That's how his childhood turned out, that's how his life turned out. But music penetrated his soul in a very peculiar way: he caught its deep essence as if from the fly, grabbing exactly what he needed from its finely organized structure.
It seems to me that Aitmatov's literary thinking itself was organized very musically, almost according to the law of counterpoint. At the same time, to call this thinking sonata, for example, would be an obvious simplification, although who would dare to say that Beethoven's Appassionata or his own The Tempest are works that are simple in structure?
In Aitmatov's texts, as in counterpoint, there are several heroes whose vital interests or positions (voices) and behavioral models are initially multidirectional, and therefore conflictogenic. But they are usually connected with each other so closely, and the space-time layers are superimposed one on top of the other in such a way that they form a complementary triumph of different elements - voices. Therefore, Aitmatov's novels are real symphonies, and the outstanding Kyrgyz esthete Aziz Saliev was absolutely right when he defined the nature of Aitmatov's talent as "Beethovenian".
And the outstanding Russian critic Yuri Surovtsev called the composition of the novel “And the day lasts longer than a century” as contrapuntal (counterpoint is a simultaneous combination of two or more independent melodic voices in music). It is no coincidence, therefore, that ballets were also written according to Aitmatov's texts. For example, the ballet "Assel" by Vladimir Vlasov was staged in Bolshoi Theater in Moscow back in the 70s, Kaly Moldobasanov wrote the ballet-oratorio "Mother's Field", and " white steamer", and the Legend of Mankurt, etc.
Aitmatov's journalistic heritage contains several interesting materials about musicians. For example, he left a very touching portrait - a memory of the great Dmitry Shostakovich, who was very fond of the stories of the Kyrgyz prose writer. There is a note about Stravinsky, who, as Chingiz Torekulovich wrote, was always interested in and professionally fond of simple in form, but deep in content, folk melodies.
I remember how we, the Kyrgyz official delegation, which included Chingiz Torekulovich, visited the Stockholm Opera during a state visit to Sweden and listened to the immortal Carmen. By the way, I noticed that the writer did not really like this classical opera in the innovative production of Janus Pedersen. It seems to me that opera was not his passion, ballet, perhaps, was closer to him.
But back to Jamila, in which Aitmatov brought a lot of tribute to music. In the story, young Seyit will become a witness, an involuntary spy on the relationship between the gloomy and silent front-line soldier Daniyar and the cheerful and cheerful daughter-in-law, for whom he still has childishly tender feelings. And after the escape of his beloved, he falls into unaccountable longing, feels incredible devastation. Something needs to be done, something to drown out this longing and fill this spiritual abyss. And he decides to sing this story of two people, to reproduce it in colors, to become an artist. This is on the one hand.
On the other hand, the young man is separated from Jamila by an invisible wall of closely related ties, and he is forced to balance on the blade of a knife, a thin line, experiencing bouts of vague attraction, jealousy and shame. Subtly feeling this circumstance, the writer chastely leaves such complex spiritual movements of the hero without detailed description- he prefers exclusively poetic symbolism, intuitive sensations, creating a discourse of understatement and undisclosed context, although at the end of the story, Seyit still decides to call Jamila, who is leaving with Daniyar, “beloved”. Freud would have called this state "perverse mental movements," that is, suffering caused by certain physiological symptoms.
“For the first time I felt then, - lyrical hero confesses , - as something new woke up in me, which I still could not name, but it was something irresistible, it was a need to express myself. Yes, to express, not only to see and feel the world for yourself, but also to convey to others your vision, your thoughts and feelings, to tell people about the beauty of our land as inspirationally as Daniyar could do it. I froze from unconscious fear and joy before something unknown. But then I did not understand that I needed to pick up a brush.
... I was seized by that same incomprehensible excitement that always came with Daniyar's songs. And suddenly it became clear to me what I want. I want to draw them».
And Aitmatov drew. I drew my Mona Lisa. All this came from the spirit of music.
It cannot be said that the story describes some absolutely exceptional life situation, that the departure of a woman from an unloved husband among the Kyrgyz is something out of the ordinary. Everything was and is. But Jamila's life is a drama, or rather, a tragedy of a strong woman endowed with rich mental and physical health, who is just beginning to realize the essence of human existence and the taste of life.
The world-famous Russian literary critic Viktor Shklovsky in his book “Artistic Prose. Reflections and analysis”, speaking about the life of Tolstoy's heroines, subtly remarked: “There is nothing unusual in Anna Karenina, but she is gifted with everything, as it were, excessively; she is human in his full essence, and that is what makes her love tragic. In addition to the fullness of vitality, Anna is not to blame for anything ...
Natasha Rostova is also characterized by the fact that she was given too much, this should bring her misfortune.
Anna Karenina is ordinary, well-bred, there is nothing in her that deviates from the ordinary, but she is so strong that she breaks this ordinary; her misfortune is typical, like the tragedy of completeness.
I dare say that this observation is also true in relation to Jamila, but with one important addition: this image is far from being as one-dimensional as it seems, it has at least one more additional angle for a more complete consideration. Jamilya is not a society lady at all, watching her every move and shackled by strict rules secular life, but a woman brought up in the spirit of Kyrgyz traditional epicureanism. On the other hand, she has one important advantage - a natural ear for the word, music, heard in an incredible context - against the backdrop of majestic mountains and steppes.
In this sense, one can only regret that no one has yet tried to listen to, for example, Mozart's Haffner Serenade or Mahler's 5th symphony under the stars and surrounded by the Tien Shan mountains. True, there is one unique example, but in cinema: in Stanley Kubrick's film "A Space Odyssey 2001", Johann Strauss' classic waltz sounds against the backdrop of endless space and a myriad of stars. And it sounds divine. “Thus said Zarathustra” by Richard Strauss is also heard against the backdrop of some kind of lunar landscape and cyclopean boulders. The feeling is truly incredible.
So, can we say that music can change fate and push a person to real action in life? Aitmatov says he can. And if someone dares to take any life step or deed because of music, or not least because of it, then, one must assume, he is truly a superman - the highest spirit and true freedom.
“Love includes everything that is given by nature, stars, Cosmos. Love is a symphony, more precisely, a world symphony.”
These are the words of Aitmatov.
– works with experimental cinema and video installations. She shot most of her films on 8mm film. The artist was inspired to shoot the film "Jamila" by the story of the Kyrgyz writer Chingiz Aitmatov, which she read in 2006.
The film was filmed in Kyrgyzstan and is dedicated to the search for Jamila, a young woman who follows her heart in defiance of the traditions of Kyrgyz society. In the film, viewers meet women who, speaking about Jamil, reveal stories from their personal lives, talk about their desires and the "laws" in which they exist, share their ideas about freedom. The film took over seven years to make. In 2018, the film was recognized and presented at film festivals in Germany and France.
“I first visited Kyrgyzstan in 2006. Then my friend suggested that I read Chingiz Aitmatov's book "Jamilya".
The book has been translated into French famous writer Louis Aragon. He is prominent representative classical literature in France. He made the translation in 1958, immediately after Chingiz Aitmatov wrote the book. It's pretty famous work in France.
I really liked the story. Interesting plot and writing style. This is an amazing book!
Then I was just finishing writing the script for my previous film Broadway, but Jamila was constantly spinning in my head.
I was madly in love with Jamila, I liked the idea of her possible freedom. I thought about the fact that someone at that moment was freed from her world in search of another life. For me, the plot of the story has a special meaning - to understand the feelings of the heroine, how they change, how she knew life. In the book, this is felt in an invisible way.
Jamila was punchy and energetic, step by step she went to the goal, despite what she was told around. She kept everything to herself, and I felt that it was not easy.
I had an idea to make a film. At first, I thought to focus on the second hero - Daniyar. But then I thought about it and decided that, most likely, I would not be able to meet people who could talk to me about this. Therefore, in the film story line built on the main character - Jamila. Daniyar faded into the background, and I completely forgot about him.
Aminat Eshar.
I wanted to make a miracle film. I imagined meeting with women who might not be in the film, but I really wanted to talk with them, exchange life experiences, even if it was only 30 minutes. I answered their questions, they answered mine. For me it was a sincere conversation, that's how I wanted to spend all our meetings .
It was very difficult to raise money for the film. It took me five years. They did not want to give me money, they said that I was going to a country with other traditions, how could I know something about them. I answered that I work as an anthropologist, conducted research in Kyrgyzstan, but in France it sounded unconvincing.
There was a period of severe depression, I just wanted to stop shooting the film. But all of a sudden they confirmed the funding, and having received the money, I decided that I would not work the way I needed to, but the way I wanted to. I wanted most of all to communicate with women. I decided that if the result is a film, then fine; I will pass it on to the organization that supported me, if not, then I will at least see these women.
In the course of our communication, I realized that they liked the idea of the film, they had many questions for me. One of the women even said that they are pleased to talk with a person who is on the same wavelength with them, understands them.”
Without statistics and figures
“I did the first shooting in 2009, when I came to Kyrgyzstan to start looking for heroes. I went to the south of the country, but it was difficult for me to find a couple there, similar to Jamila and Daniyar. I couldn't find that love, I couldn't feel it. It seemed to me that the idea of them was only in my head, in my own world.
Frame from the film "Jamilya". Nature of the southern part of Kyrgyzstan.
In 2011, I returned to Kyrgyzstan again to continue working on the film and then met a girl who subsequently helped me with translation (from English into Kyrgyz) when talking with the characters. Most of the filming was carried out in 2016 in the southern and northern parts of Kyrgyzstan.
It is surprising that everyone knows the story "Jamila" and its main character. All women! Men too, but I focused my attention on women. It was very important for me to talk personally with each potential heroine.
I was pleasantly surprised that in the regions everyone reads literature, especially Russian. In many villages, the women who work in the fields and pick potatoes still find time to read. In France, for example, not all people living in the countryside read classical literature.
I just wanted to understand what women think about life ... I didn’t need statistics and numbers. All this people could already find in information sources. Behind the voices of my characters, I wanted to understand their human nature, their personality; understand what they think about life through the image of Jamila.
I decided that Jamila should become the key in a conversation with women on completely different life topics. If I knocked on the door and introduced myself to women as an artist from France who wants to make a film about women's rights, I think it would be much more difficult for me.
Jamila is a poetic (literary) image. She does not exist, she is from a novel, so women could freely talk, sing through her about themselves, even if they did not agree with her act.
An excerpt from the film.
After each interview, we had a meeting with an interpreter. We discussed how everything went, what worked and what didn't. This was a very important part. Sometimes I had uncomfortable questions planned, she suggested how best to ask them, given the local mentality.
When meeting with women, I immediately warned that I did not know who would end up in the film. The interviews were many hours long, but I explained that about five minutes would be chosen. Each heroine knew the terms and agreed with them.
I met with 53 women. Three of them refused to participate in the filming. As a result of the work, I had 50 interviews. Of course, it was too much for the film. I had to choose... I wanted women from different regions to be represented in the film, working in the fields, and in offices, and in the laboratory, and at school. It was also important that the heroines were of different ages - both young and old.
The heroine of the film "Jamilya" in the walnut forest is Arslanbob.
Many of them said basically the same things, and I chose the most charismatic; listened, and then chose whose voice I liked best. It was important for me with what intonation she speaks, and how she speaks. Their voices were like melodies. You can tell a lot about a person by their voice. I also wanted to show in the film the situations of the past and the present - from the moment the story “Jamila” was written, from Soviet times, to the present day. I also thought about how to present the religious part. This is not an easy topic. However, it is very important for women. It was difficult to strike a balance without putting a strong emphasis on the theme of religion, which was present in the plot.
Every interview could end at any minute
“Interviewing women proved to be a difficult task. I understood that I could only meet with each one once, in rare cases - twice. I needed to structure the conversation in such a way as to get the most complete answers to my questions, while being flexible in different circumstances.
I understood that the interview could end at any moment. Sometimes it took 15 minutes, sometimes half an hour. The heroine could say: “That's it! Now it's time for you to go." Her husband might ask her to do something, or her mother-in-law, the phone might ring, or someone might ask for help.
I still had time to do subshooting; I would like to have more common shots. However, I couldn't shoot while someone was watching me. It was hard to explain to the characters. I had to do this while the interpreter was talking to the women. Only in five houses did I manage to take pictures of the table, windows and houses.
Frame from the film "Jamilya".
I was constantly in suspense, especially when I saw a good heroine who could tell a lot.
Of all the heroines, only one refused to shoot. She was from Arslanbob. She said she was against filming, but would share her story. After we finished talking with her, she asked me not to return to her again and refused to watch the final version. She was from a very closed and religious family. In the film, she has a fictitious name, like three other heroines who asked me about it.
There was one very shy woman who spoke about her father, a writer. She herself wanted to meet with us. However, we could not shoot her at home, she had a rather difficult situation. We had to shoot outside her house, but in such a way that no one could hear us. It took up to 20 minutes to find such a place. It was all just crazy."
Recognition of the film and its audience
“In 2018, I completed work on the film. He received recognition. It was screened at international film festivals and forums - in Germany as part of Berlinale Forum in February 2018 and in Paris for Festival du Cinema dureel in March 2018. At the moment you will not find the film freely available on the Internet, as it is still participating in many screenings.
For me, the film reflects the position of women around the world. It is not only about the problems in Kyrgyzstan, but also about what women around the world face.
Many say that they were stolen, but this is not the main idea. The film is about how difficult it is for a woman to make a choice in life - in her studies, work, to find opportunities for the life she wants, and for society to accept it.
After the screenings there was a discussion. I saw how people cried, how they were touched. Even in Germany, which is so far from Kyrgyzstan! It's really amazing! I'm talking not only about the reaction of women, but also men.
There were girls from Italy and Brazil who found themselves in the film, were able to truly understand the heroines. The audience said that now they can no longer live as before, they will have to change their way of thinking. Many people said after watching that they wanted to read Jamila.
In July 2018, I organized a viewing in Kyrgyzstan, in Kirovka (about 530 km from Jalal-Abad). I can't talk about the reaction of all women to the film, because not all the participants were present at the screening. It would be difficult to invite all 50 women. At the screening, I met only 12. Among them were those whose interviews were not included in the film, they were upset. But before the screening began, I told in more detail how the work was carried out, and explained why someone did not enter the film.
Screening of the film "Jamilya" in Kirovka.
After watching the women's faces changed, they began to smile, and I breathed a sigh of relief. Everyone liked the movie and they understood everything. One woman said she understood why she wasn't in the film and agreed with my choice. A stone has just been lifted from my soul. Someone then said that after filming she thought a lot about the conversation. I remember that I told one of the heroines that she looks like Jamila, that she is just as strong, does everything around the house and works as a director in a laboratory in a medical institution.
She said that after meeting me, she began to tell friends and family about how strong she was. She realized this and began to change her attitude towards herself. It's really wonderful. This is still something very small and inconspicuous that can gradually change the world! It's great when you can give strength to the characters in the film or those you meet during the filming. However, this is not always the case.
On the one hand, I like the image of Jamila, but on the other hand, he scares me. She goes, but does not know where she is going, it is not clear what can happen. I would like to do the same, but I have loved ones who can stop me. I can't fight it, but she can. Or maybe I, like many other women, dream about the things that she does, dream about the power that she has.
Proofreader: Elena Bosler-Guseva.
The material was created within the framework of the project "Voices of the Guardians" of the program to support local youth initiatives "Jashtar Demilgesi" to promote biological and cultural diversity in the Northern and Inner Tien Shan with the support of the Public Foundation "Institute for Sustainable Development Strategy" (ISSD).
Frame from the film "Jamilya" (1968)
It was the third year of the war. There were no adult healthy men in the village, and therefore the wife of my older brother Sadyk (he was also at the front), Jamila, was sent by the brigadier to a purely male job - to carry grain to the station. And so that the elders would not worry about the bride, he sent me, a teenager, along with her. He also said: I will send Daniyar with them.
Jamila was pretty - slender, stately, with blue-black almond-shaped eyes, tireless, dexterous. She knew how to get along with her neighbors, but if she was offended, she would not yield to anyone in swearing. I loved Jamila dearly. And she loved me. It seems to me that my mother also secretly dreamed of someday making her the imperious mistress of our family, who lived in harmony and prosperity.
On the current I met Daniyar. It was said that in childhood he remained an orphan, for three years he roamed the yards, and then went to the Kazakhs in the Chakmak steppe. Daniyar's wounded leg (he had just returned from the front) did not bend, that's why he was sent to work with us. He was reserved, and in the village he was considered a strange man. But there was something hidden in his silent, gloomy pensiveness that we did not dare to treat him like a familiar.
And Jamila, as it happened, either laughed at him, or did not pay attention to him at all. Not everyone would endure her antics, but Daniyar looked at the laughing Jamila with sullen admiration.
However, our tricks with Jamila ended one day sadly. Among the sacks was one huge one, seven pounds worth, and we handled it together. And somehow, on the current, we dumped this bag in the partner's britzka. At the station, Daniyar looked at the monstrous load with concern, but, noticing how Jamila grinned, he put the bag on his back and went. Jamila caught up with him: “Drop the bag, I was joking!” - "Go away!" - he said firmly and went down the ladder, falling more and more on his wounded leg ... There was dead silence around. "Give it up!" people shouted. "No, he won't quit!" - someone whispered with conviction.
The whole next day, Daniyar kept calm and silent. Returned from the station late. Suddenly he began to sing. I was struck by what passion, what burning the melody was saturated with. And suddenly his strangeness became clear to me: daydreaming, love of solitude, silence. Daniyar's songs aroused my soul. How has Jamila changed?
Every time when we returned to the village at night, I noticed how Jamilya, shocked and moved by this singing, came closer and closer to the britzka and slowly pulled her hand to Daniyar ... and then lowered it. I saw how something accumulated and matured in her soul, demanding an exit. And she was afraid of it.
One day we, as usual, were driving from the station. And when Daniyar's voice began to rise again, Jamila sat down next to him and lightly leaned her head against his shoulder. Quiet, timid… The song suddenly broke off. It was Jamila who impetuously hugged him, but immediately jumped off the britzka and, barely holding back her tears, said sharply: “Don’t look at me, go!”
And it was evening on the current, when I saw through a dream how Jamila came from the river, sat down next to Daniyar and clung to him. "Jamilyam, Jamaltai!" - Daniyar whispered, calling her the most tender Kazakh and Kyrgyz names.
Soon the steppe blew, the sky became cloudy, cold rains began to fall - the harbingers of snow. And I saw Daniyar walking with a duffel bag, and Jamila was walking next to him, holding on to the strap of his bag with one hand.
How many conversations and gossip were in the village! Women vying with each other condemned Jamila: to leave such a family! with the hungry! Maybe I'm the only one who didn't blame her.
retold
In 1958, the novel "Jamilya" was first published in the journal "New World", which brought Chingiz Aitmatov world fame. The French poet Louis Aragon said: "Jamila" is the most beautiful love story in the world." Jamilya is a young Kyrgyz woman who, contrary to obsolete patriarchal customs, boldly goes towards love.
Soviet critics believed that Irina Poplavskaya's film was far from perfect. Although all the main images - Jamila (Natalya Arinbasarova), front-line soldier Daniyar (Suimenkul Chokmorov), the brother of the husband of the heroine Seit (Nasretdin Dubashev) - are brilliantly embodied. Today, when we have already seen more than one staging in different theaters of the former USSR, when directors from far abroad have tried to present their film versions of Aitmatov's legendary story to our judgment, we can safely say that the imperfect creation of the Muscovite Irina Poplavskaya remains the most adequate screen embodiment of the cult primary source.
Critic Elga Lyndina wrote that in Poplavskaya's film the plot of the story was quite accurately conveyed, but passionate excitement and genuine pathos were gone. The picture was reduced to a chain of individual episodes of various illustrations of Jamila.
And in this chain, Poplavskaya has some achievements. I will never forget the scene with a huge seven-pood sack of grain, which was thrown to Daniyar by the mischievous Seit and Jamilya. Each step along the ladder was given to Daniyar with difficulty, besides, he began to noticeably fall on his wounded leg, the higher he climbed, the more he swayed from side to side: he was rocked by a bag. Jamila, eyes wide with horror, began to shout at him to drop the sack. But Daniyar stubbornly climbed up.
He withstood this test, he was generally inclined to endure all the injustices of the world that God sent, perhaps testing Daniyar for strength. And when it became clear that the hero is able to withstand all adversity, love was sent down to him. And then the gloomy Daniyar blossomed. It turns out he can sing, smile, be handsome! And Suimenkul Chokmorov played all these transformations amazingly.
The actor managed to reveal the rich inner world of one of his favorite literary heroes writer. Although Chokmorov himself was very critical of his work in Jamil and dreamed of playing Daniyar again. More than once he had a crazy idea to make a new version of Aitmatov's story himself, although in general he never thought of being a director.
The director from Germany, Monica Taber, who worked on the film adaptation in 1994, managed to attract the famous American theater and film actor Farid Murray Abraham, who we know in the image of Salieri in the film Amadeus, which won him an Oscar, to cooperate. In "Jamila" Abraham appeared as an adult Seit, who, at the whim of the director, received the surname Frolov. But, as it turned out on the set, this was not the only whim of the director: she chose the blond Jason Connery for the role of Daniyar, having directly perceived the author's mention that Daniyar was a stranger, a stranger ...
Jamila was played by the French actress of Vietnamese origin Lin Pham. It can be assumed that with more thorough preparation for the work, which contributed to a deeper immersion in the image, she could become the ideal Jamila.
We read from Aitmatov: “Jamilya was pretty: slender, stately, with straight, hard hair braided into two tight braids.” (1)
Lin Pham is indeed a very beautiful woman, but external data alone is clearly not enough to create a complex image of Jamila. It is obvious that Irina Poplavskaya and Natalya Arinbasarova's interpretation of the image of Jamila is much closer to the literary prototype than the representation of Monica Teiber and Lin Pham. Although Arinbasarova is not as beautiful on the outside as Lin Pham, she nevertheless managed to better express Jamila's inner freedom and emancipation.
Short, slightly dense Arinbasarova accurately placed all the semantic accents and at the same time she is very natural, uninhibited, as if the feelings of the heroine became her feelings too.
Lin Pham, on the other hand, only declares Jamila's personal independence, it is enough to recall the episode in which Seit reads Sadyk's letter from the front. The heroine is outraged by Sadyk's indifferent attitude towards her and speaks very angrily about this. Dzhamilya Arinbasarova experiences the whole situation covertly, changing it internal state occurs gradually: from the radiance of the eyes at the beginning of reading a letter to a dull look at the end.
Of course, the Kyrgyz audience did not accept Jamila by Monica Taber.
Monica Taber had a unique chance to draw everyone's attention to her person: filming in the early 90s (during the era of rampant feminism) literary work of the late 50s about a woman in whom the potential for free treatment with everyone was declared, she was obliged to place all semantic accents in accordance with the tastes of the new time. It was from the late 80s - early 90s that the screen uninhibited rebel of the 50s was transformed into an independent image of a woman firmly standing on her feet, who had a dream and knew how to fulfill it. Monica Taber, sensitively grasping the relevance of the story of the internally liberated Jamila, unfortunately, could not make it modern. 14 years later, the Frenchwoman Marie de Poncheville tried to do this, who, in accordance with the realities of the late twentieth century, transformed the plot of Aitmatov's immortal story, retaining, nevertheless, the main conceptual component of the cult literary work.
The French director's film begins with a short prologue.
France. Night. Coastal strip of the ocean. Storm. Two European-looking people grab an Asian, throw him to the ground, suppress all impulses in him, in order to deport him from the country after a while. Blackout.
An inscription appears: “Tengri. The blue of the sky, accompanied by a powerful Asian voice that is born in the heart of the singer, passes through his throat to freely soar in the heavenly heights of wayward Asia. This voice proudly sounds over the native expanses of the deported Asian. A sharp-sighted, impudent eagle guards the course of our hero, cutting through the few cloudy waves of Tengri. The tired man, nevertheless, confidently walks along the roadway, easily and simply sits down in a large truck. Local people easily explain to him how to get to Ak-Juz jailoo, where a certain Taras lives. Wrinkled by life, aged early, but charming hero tries to step on the ground carefully so as not to trample the grass, because he knows that this is a precious food for livestock that grazes here in the jailoo in summer.
The hero's name is Temir. It turns out that his father Taras has died. Someone quietly asks: “Are you, probably, the son of Jamila?” “Yes,” the alien replies just as quietly.
The native land accepted its prodigal son. Countrymen are not. Only the beautiful Amira (A. Imasheva) and her older sister Uulzhan (T. Abazova) with their little brother Taib show interest in Temir (I. Kalmuratov).
The image of Amira is close to Aitmatov's Jamila. The director of the film "Tengri" repeatedly emphasized that the plot of the film was inspired by the love story of Daniyar and Jamila.
In her work, Marie de Poncheville always raises questions of women's vulnerability in the patriarchal structure of the world. It is not so important where the action of her paintings takes place: in Europe or Asia. Therefore, in France, according to the director, the male world also reigns, and it is not so easy for a woman to break through.
Let us recall that Jamilya, the iconic heroine of Aitmatov, immediately attracted the attention of Louis Aragon and gained fame in France, because she correlated with the new in a feminine way. As you know, at that time in French cinema there appeared and a little later a type of young woman was established, who placed above all the naturalness of feelings, the authenticity of impulses. She did not want to reckon with generally accepted norms of behavior, expressing the theme of a gap between generations, a vague and unformed revolt of youth against bourgeois values. (3)
When, in the early 1960s, the literary critic Georgy Gachev began to read the story Jamila for the first time, he knew that it had already been translated into French by Aragon. From this fact, Gachev then formed an idea for himself - it means that "Jamila" "stands at the level of modern literary thinking and enriches it with something." After reading the story, Gachev came to the conclusion: “... the family and clan relations of the Kyrgyz, which developed in the nomadic era, seemed to smoothly flow into socialist ones. But the immutability of the patriarchal state is apparent, somewhere in the depths it has already been undermined. This undermining of the old norms and ideas about what is due is manifested in the character of Jamila. It is obvious that she behaves in a strange way, in her own way, she allows herself too much of what is not accepted, while there is no reason to condemn her. (4)
People also condemn Amira, the heroine of the era of change. Amira is a woman free from prejudice, her only desire is to know what love is. Weak, worthless peasants condemn her, who grow braver, having passed a glass or two of vodka, starting shamelessly pestering her. They are so brave that they can beat a person to death, as the drunkard Askar did with his wife Uulzhan. Screen "heroes" find another way to overcome the lack of masculinity in their loved ones. So, Amira's own husband - Shamshi - is a Mujahideen, mows down like a true orthodox Moldoka, regularly leaves for southern hot spots to earn money. Shamshi is only able to fight, not to create. For the time being, he remains an elementary dunduk in relation to Amira. He does not care about the feelings, experiences, languor of his beautiful wife. Shamshi usually returns home for a short vacation to unwind, not in a marital bed, but for a drink with his friends.
And then Temir appears on the jailoo, a man from nowhere, without a penny in his pocket, who settles in a hut on the outskirts of the camp. The only person with whom he finds a common language is an alien - a former Afghan soldier, a rude Russian man with good heart, which is forever stuck in a beautiful Asian country and sells the metal remnants of the former power of the Soviet state to the Chinese.
Amir does not care that Temir is a loser in life. She feels: although her chosen one is poor materially, he is internally filled, spiritually rich, and it is with him that she can get a feeling of complete happiness from all-consuming love.
Amira escapes with him. On the way, it turns out that Temir is not able to knock out a bunny from a slingshot, catch a fish, shoot a bird in order to feed his starving lover. Temir does not know where he is taking her and what will happen to them tomorrow. He does not plan his life, but simply goes somewhere forward, as it turns out, again to the West, which already once expelled him. Temir did not find himself in his native pasture. An unplanned life forces Temir to submit to circumstances: once again to leave his homeland. He can't stand up to Amira's husband with a gang of gunmen. Temir, in principle, is not adapted to life, he is a dreamer, and only a strong woman next to him is able to support him and become a support.
At the beginning, I spoke about the eagle in the high sky of Asia, which guards Temir's walking along native land. Twice more she will appear in sight: when Amira visits the grave of Uulzhan and tries to set a stone on it. Temir appears and helps her. This is how their relationship begins. For the third time, already in the finale, the eagle notifies the heroes that, having overcome all conceivable and unthinkable obstacles, they have reached a foreign land. With a new hope for future happiness, the film ends.
Marie de Poncheville wanted to show the nature of Kyrgyzstan: “Let everyone in the world see what a beautiful country Amira and Temir live in.” Yes, our landscapes are magnificent, picturesque, but in the midst of this beauty, the heroes of de Pontcheville cannot find happiness, they leave to look for it in a foreign land.
"Tengri" is a viewer's picture, and in general, Bishkek residents received it warmly. True, some noted (in their opinion) an obvious minus of musical accompaniment: “Throat singing is not characteristic of the Kyrgyz!”
In general, in the course of the development of the plot, many different songs sound that did not cause any complaints. Actresses Albina Imasheva and Taalaikan Abazova sing lyrical and fervent Kyrgyz songs from the heart. Famous actor and the bard Nikolai Marusich performs his own works. The artist Tabaldy Aktanov tells a small fragment from the Manas epic, his young partner Aibek Midin uulu attempts to perform the same fragment in the rap style. Note that all this sounds in the tape "live": the sound was written on the set.
Many people think that the film is clearly drawn out, and its second half sins with long plans for mountain landscapes, and the endless pursuit of heroes is in no way justified, and it would have to be cut.
Kyrgyzstanis did not accept the picture in principle.
We, fellow countrymen and custodians of the literary heritage of the outstanding writer, cannot stop the creative impulse, the intention of this or that director, whether domestic or foreign, to stage productions based on the works of Chingiz Aitmatov. But we have the right to express our opinion, to live in the hope that new adaptations will be more adequate, that the director will not allow unreasonable liberties in the interpretation of certain images, will be more careful.
Gulbara Tolomusheva, film critic
Filmography:
1. "Jamilya" - the first version
Screen version of the story of the same name by Chingiz Aitmatov
Produced by the Mosfilm studio, 1969, b/w, color, 35 mm, 78 min.
Stage director - Irina Poplavskaya
Director of photography - Kadyrzhan Kydyraliev
Set Designer - Anatoly Kuznetsov
Cast: Natalia Arinbasarova, Suimenkul Chokmorov, Nasretdin Dubashev
2."Jamilya"- adaptation of the story of the same name by Chingiz Aitmatov
Production: Trianglfilm (Germany), Gemlin Media International and Corey Film Distributors (USA), 1994, color, 35 mm, 85 min.
Directed by Monica Taber
Director of photography - Manasbek Musaev
Composer - Eugene Doga
Cast: Lin Pham, Jason Connery, Nicholas Kinski, Farid Murray Abraham
3. Tengri. blue sky"
The film is dedicated to the blessed memory of the great writer Chingiz Aitmatov
Germany - France - Kyrgyzstan, 2008, 35 mm, 110 min.
Production: L.Films – Cine Dok GmbH & Arte France Cinema
: Marie-Jaoule Poncheville Jean-Francois Goyet featuring Charles Castella
Directed by: Marie-Jaoul de Poncheville
Sylvie CarcedoFrank Muller
Producers: Frank Muller, Emmanuel Schlumberger, Taalaibek Bapanov
Producer-manager: Ernest Abdyzhaparov
In Kyrgyz (95%) and Russian (5%) with English subtitles
Starring: Albina Imasheva, Ilimbek Kalmuratov, Nikolai Marusich, Taalaikan Abazova, Tabaldy Aktanov, Busurman Odurakaev, Askhat Sulaimanov, Aibek Midin uulu.
