Name Mikhail Vartanov | Role Film director | |
Born February 21, 1937 ( 1937-02-21 ) Russian Soviet Federative Socialist Republic (now Russian Federation), USSR Occupation Director, cinematographer, screenwriter, art critic Notable work Parajanov: The Last Spring Died December 31, 2009, Hollywood, California, United States Spouse Svetlana Manucharian (m. ?–2009) Education Gerasimov Institute of Cinematography Movies Parajanov: The Last Spring, The Seasons, Autumn Pastoral Awards Nika Award for Best Documentary Similar People Sergei Parajanov, Artavazd Peleshyan, Alexander Kaidanovsky, Irakli Quiricadze, Haie Kirakossian | ||
The Last Film [16mm] trailer
Mikhail Vartanov (Russian: Михаил Вартанов, Armenian: Միքայել Վարդանով, French: Mikhaïl Vartanov b. February 21, 1937, RSFSR, Soviet Union, now Russian Federation, d. December 31, 2009, Hollywood, California) was a film director, cinematographer, documentarian, essayist, photographer and artist who developed a style of documentary filmmaking termed the “direction of undirected action.”
Contents
- The Last Film 16mm trailer
- Student years
- Friendship with Sergei Parajanov
- Early career
- Blacklist
- Cinematographer
- Essayist
- Suppression
- Later career
- Quotes
- Quotes about him
- Awards and honors
- Legacy
- References
His reputation as one of the most important cinematographers, documentarians and intellectuals of his generation was cemented by such influential documentary films as The Seasons of the Year, Parajanov: The Last Spring, and a series of essays including The Unmailed Letters.
Student years
Mikhail Vartanov dedicated his life to defending and supporting his close friend, the imprisoned genius Sergei Parajanov, whose talent he recognized in 1964, after watching at Moscow’s film school VGIK the landmark motion picture Shadows of Forgotten Ancestors and the test footage of the unfinished Kiev Frescoes.
Friendship with Sergei Parajanov
Mikhail Vartanov met Sergei Parajanov in 1967 in Armenia and shared his thoughts about the screenplay of the masterpiece The Color of Pomegranates (Sayat Nova). Parajanov was impressed and they became close friends until the end.
Early career
Vartanov’s debut film, The Color of Armenian Land, marked the beginning of his trademark style, the “direction of undirected action.” This documentary, a silent commentary of gestures of painter Martiros Saryan, also featured Vartanov’s friends, the dissident artists Minas Avetisyan and Sergei Parajanov, for which the film was censored and suppressed; Avetisyan was assassinated and Parajanov was imprisoned shortly after.
Blacklist
His next film The Autumn Pastoral—written by Artavazd Peleshian and scored by composer Tigran Mansurian—was shelved. After Sergei Parajanov was arrested in Kiev in 1973, Mikhail Vartanov immediately protested to the Prosecutor General of Ukraine. The recently declassified document proved that it was that letter in support of Parajanov that prompted the intensified harassment that Vartanov endured, and his subsequent firing from the Armenfilm Studios (4 months after Paradjanov’s imprisonment).
Cinematographer
Artavazd Peleshian and Gennadi Melkonian passionately petitioned the Russian and Armenian authorities to work with Vartanov, who was blacklisted and unemployed, and he was able to work as a cinematographer on two films that became classics: The Seasons of the Year (1975) and The Mulberry Tree (1979).
Essayist
After a 9-year absence from directing, Vartanov was asked to save a troubled project, The Roots (1983) which he later wrote was the best film made in Armenia that year. He survived by teaching art, cinema and photography at the university, and publishing his writings. They appeared in several languages, including French, in Cahiers du cinéma.
Suppression
Sergei Parajanov, in a letter from prison, wrote to Mikhail Vartanov: “You and your purity are colliding with circumstances and predators… That’s life”. Indeed, many open and secret suppressors of Parajanov, especially the unschooled and the mediocrity, later focused on Vartanov, having recognized the opportunity to advance their personal interests and careers by attacking the free thinkers and marginalizing them. For over 20 years, the films of Mikhail Vartanov had been suppressed, unmentioned by press, or blocked from submission to foreign film festivals, and remain today in the archives, under the control of his former suppressors and their unsuspecting or indifferent sympathizers.
Later career
In a letter to the imprisoned Parajanov, Vartanov wrote, quoting his favorite poet Boris Pasternak: “the time will come and the power of meanness and malice would be overcome by the spirit of kindness". Parajanov responded to Vartanov: "Dear Misha, I received your amazing letter... Never have you been more accurate in evaluating the world and expressing yourself...". Mikhail Vartanov’s coda was the documentary trilogy Erased Faces (1987), Minas: A Requiem (1989), and the influential masterwork Parajanov: The Last Spring (1992), made in a war-torn, blockaded Armenia, during the one-hour daily limits of electricity. It reaffirmed his reputation of a master.
Quotes
"In our land, the government manufactures the biography of the Artist. It honors and awards one, for nothing, and it dishonors and imprisons the other -- a wise government -- it desires to turn both into obedient slaves."
"Probably, besides the film language suggested by Griffith and Eisenstein, the world cinema has not discovered anything revolutionarily new until the 'Color of Pomegranates,' not counting the generally unaccepted language of the 'Andalusian Dog' by Bunuel."
Quotes about him
Awards and honors
Legacy
Parajanov-Vartanov Institute was established in Hollywood in 2010 to study, preserve and promote the artistic legacies of Sergei Parajanov and Mikhail Vartanov.