The Colour of Pomegranates (1969)

Film: The Colour of Pomegranates

Director: Sergei Parajanov

Country: Armenia / Georgia

Released: August 1969

Runtime: 78 minutes

Genre: Historical Drama

Studio: Armenfilm

Influenced: Mikhail Vartanov, Godard, Atom Egoyan, Leos Carax, Lady Gaga

Sergei Parajanov, a filmmaker of Armenian descent born in Georgia (which was then part of the Soviet Union), shot The Colour of Pomegranates on location in Georgia, Armenia and Azerbaijan, and it's a film that mixes historical biography with the deeply personal. Parajanov chose to explore the life and works of the 18th-century Armenian poet and troubadour Sayat-Nova on screen, using an unconventional narrative structure and poetic style, full of visual symbolism that is hard to decipher for the uninitiated. There's an excellent video essay by film scholar James Steffen on The Criterion Channel that helps to decode many of the film's references and symbols; otherwise, this article is a good primer.

One thing that was evident to me watching the film for the first time (before reading or watching any supplementary material) was the huge influence of Tarkovsky. Parajanov and Tarkovsky share a similar poetic cinematic language, as well as a love of philosophy and deep connection to the cultural and spiritual heritage of their countries. The Colour of Pomegranates faced significant challenges owing to its unconventional style and the political climate of the Soviet Union at the time, with Parajanov’s approach to filmmaking in stark contrast to the preferred socialist realism of the period. Despite these challenges, the film was completed and released, although it was later banned and re-edited without Parajanov's approval, significantly altering its narrative structure. Martin Scorsese's Film Foundation, in conjunction with Cineteca di Bologna, helped to restore the film to its former glory in 2014.

In terms of any discernible plot, Parajanov's film is a series of tableau-like sequences that visually represent significant moments or themes from Sayat-Nova's life and work. The film is divided into chapters, each one depicting a different stage of Sayat-Nova's life – his childhood, youth, adulthood and monastic life, and death. Parajanov uses visual symbols drawn from Armenian folklore, religious iconography and Sayat-Nova's own poetry to evoke emotional and philosophical themes such as love, death and the struggle between earthly desires and spiritual aspirations.

One of the many unique features of the film is its approach to sound, its soundtrack a mix of traditional Armenian music, liturgical chants and poetry readings. There is minimal dialogue in the film, and much of the story is conveyed through the soundtrack and the visual imagery. Like Bresson, Parajanov had a fascination with hands and the work that they do. In this way, and others, the film rejects traditional narrative and dramatic conventions in favour of a more poetic and symbolic style, using static shots, tableau compositions and intricate mise-en-scène. The Colour of Pomegranates is now recognised as a masterpiece of world cinema, and the film's struggle with censorship has made it a symbol of artistic freedom and an important gem in the cultural crown of Armenia.