In a captivating new exhibition, the unseen wonders of Sergei Parajanov’s 1969 cinematic masterpiece “The Colour of Pomegranates” are unveiled, offering a rare glimpse into the visionary director’s unwavering commitment to preserving the rich cultural heritage of Armenia and its surrounding regions. The exhibition, titled “Temple of Cinema #1: Sayat Nova Outtakes” and curated by Daniel Bird, is part of the CINECITY Brighton film festival and will be on display at the Fabrica art gallery in Brighton until November 10th.
A Film-Poem in 15 Miniatures
When Parajanov initially presented his script to the Soviet film authorities for approval, he described “The Colour of Pomegranates,” then titled “Sayat Nova,” as a “film-poem” about the life of the travelling bard Arutin Sayadyan. Rather than a conventional biopic, Parajanov envisioned the film as 15 miniatures, each inspired by an episode in Sayat Nova’s life while also serving as a canvas for the director’s own dreams and fantasies. However, these deviations from the norm prompted the authorities to insist on a title change, resulting in the now-iconic “The Colour of Pomegranates,” a name that Parajanov embraced wholeheartedly.
Parajanov’s Transnational Vision
The exhibition features a striking image of Parajanov himself, captured near the David Gareji monastery on the border between Georgia and Azerbaijan during the filming in 1967. In the background, three models representing an Armenian church, a Georgian church, and a mosque underscore the director’s keen interest in emphasizing the transnational aspect of his subject matter, the life of Sayat Nova. As an ethnic Armenian born in Tbilisi, Georgia, Parajanov sought to highlight the interconnectedness of the region’s cultures through his work.
Evocative Imagery and Spiritual Symbolism
The exhibition showcases the evocative imagery that opens “The Colour of Pomegranates,” including shots of pomegranates bleeding juice on a white cloth and a foot crushing grapes, their juice flowing onto Armenian text carved into stone. Another striking image, originally described in Parajanov’s script as “A woman’s bare breast, covered by a golden bowl … The bowl fills and overflows with milk,” was ultimately filmed using a marble bust instead, though it did not make the final edit.
The spiritual symbolism of the khachkar, or “cross-stone,” is also explored in the exhibition. These vertical stone steles, adorned with intricate carvings and a central cross, are associated with medieval Armenia. In the film, monks are shown carving stone, a powerful metaphor for a spiritual life literally carved out of the landscape. Parajanov’s decision to film these architectural and monumental elements now seems prophetic, as thousands of khachkars have been destroyed since the collapse of the Soviet Union.
Llama Drama and Artistic Improvisation
One of the most intriguing scenes in the exhibition, referred to by Parajanov as “Sayat Nova’s wet dream,” features the protagonist milking a llama procured from a zoo in Yerevan. This lengthy, unscripted sequence was improvised on set, with only a portion appearing in the extant versions of the film. The surreal image of Sayat Nova holding a bowl of milk as if leading a religious procession through the monastery at night showcases Parajanov’s penchant for artistic improvisation and his ability to create haunting, memorable visuals.
Textures of the Era
Parajanov’s preface to his script emphasizes that “The Colour of Pomegranates” was not merely a film about Sayat Nova’s life, but an evocation of the world in which he lived. To achieve this, the director explored what he called “textures”: architecture, paintings, mosaics, landscapes, and frescoes. Through these elements, Parajanov sought to capture “the authenticity of the era and the authenticity of portraits and plastic arts of 18th-century Armenia, Georgia, and Azerbaijan.”
Visions of Saint George
The exhibition also delves into Parajanov’s use of a painting detail as the inspiration for a scene in which a young Sayat Nova has a vision of Saint George at the Surp Gevork cathedral in Tbilisi. Though the scene was shot at the Alaverdi cathedral in eastern Georgia, it captures the spiritual essence of Sayat Nova’s experience. The director filmed several variations of this childhood vision, including one at the David Gareji monastery featuring model churches and a mosque, symbolizing the Armenian, Georgian, and Islamic faiths of the region.
The Mesmerizing Princess Ana
Georgian actress Sofiko Chiaureli, who portrays the mesmerizing Princess Ana in the film, is featured prominently in the exhibition. Chiaureli’s expressive movements and rejection of naturalism perfectly aligned with Parajanov’s artistic vision. The director himself is believed to have designed her striking costumes, as evidenced by fabric designs mounted on wood held by the Parajanov Museum in Yerevan.
“Temple of Cinema #1: Sayat Nova Outtakes” offers a fascinating insight into the creative process behind Sergei Parajanov’s cinematic masterpiece, “The Colour of Pomegranates.” Through unseen footage, camera tests, and captivating images, the exhibition reveals the director’s unwavering dedication to preserving the rich cultural heritage of Armenia and its surrounding regions, while also showcasing his visionary artistic style that continues to inspire filmmakers and audiences alike.
