Does strange is "Strange time"
Does strange is "Strange time"?

 

The film of Huseyn Mehdiyev is a new step in cinematograghy. İn verbal expression of the plot, the action, the compositional construction - everything is obtained sufficiently simply. The essence of the film is expressed in the language of cinema- the construction of the shot, reaction of the camera, montage, light, change of light, expressiveness of objects, the influence of the sur-
rounding, etc. Huseyn Mehdiyev proved himself as the true connoisseur of the complicated and unordinary laws of the cinema.

As if the scene creates the grounds for the further development of the language of the cinema and provides opportunity for the spectator to extend his (her) view about the cinema as an art. There is no necessity for Huseyn Mehdiyev who started as an operator, to involve the additional means of expressiveness not inherent to the cinema for expressing his feelings in the film.

To me, as a specialist in drama study, I am more attracted to the acting technique in the cinema, as I imagine everything begins and ends with those who enliven the happenings. I have not been able to reveal the essence of the acting technique up to now, though I am a person who is dissective in the secrets of the acting technique generally. The film "Strange Time" became a certain break for me in this secret.

Wholly, the film is constructed on the performance of two - prominent master Aladdin Abbasov and young actress Ayan Mirgasimova. But I'd like to stick to the ensemble of actors so called a second plan. It is evident that it is the director's task to bring together and turn this ensemble to the necessary direction, but to feel the stylistics, atmosphere, spirit of the film is the lot of the actors. The presence of Hasan Mammadov, Elmira Shabanova, Rafig Aliyev, Narmina Zarbaliyeva, Elshan Mammadov and other actors and actresses may be expressed in a word - restraint. Namely therefore, Sona khanym remembered in the part of the postwoman left behind the scene but with 'read-out' biography, inner world. Or E. Shabanova whose women film images are complicated from film to film, her wise eyes… or taciturn expressiveness of Rafig Aliyev… All these images form the ornamental groundwork in the center of which in the strange time - develops the story of the father and the daughter.

This ornamental motive (sensible topical, cognitive sensitive…) is conducted by outstanding actor Aladdin Abbasov, embodying his part taciturnly and at the same time exclusively expressive hues. Here I want to go back to my drama study beginning. Aladdin Abbasov- a prominent master of our scene, growing up in the theatre and being able in great extent to realize all his creative potential. The role of the father- is his unconditional achievement and at the same time the triumph of the national theatre. We have seen many successful roles of A.Abbasov. His work in the film "The Strange Time" certainly is one of the peaks of his work.

What is seen from these peaks? First of all infinite creative potential of the actor, then trust and respect of the director to the national school of actors , consistency of our cinema with the criteria of the development of the world cinema. I wish the work of A.Abbasov would become didactic example of respectful approach to his profession for the youth.

As an example of such approach to the work I also determined after seeing the work of Ayan Mirgasimova in the film "The Strange Time". In very tense and durable episodes of the film, brilliancy of the talent glittered in the eyes of the actress and rouse optimism in me. Ayan got her education in Moscow, the Institute of Cinematography (former VGIK), but I want to remind the readers that she is well known by the audience of Baku namely as an actress of the theatre. In "The Strange Time" she leads the main burden and in many aspects the film is constructed on her. The director took the risk in a certain sense: the heroine must be young, beautiful, charming that the test which she has to go through from sequence to sequence, from episode to episode would change her inner world and appearance. Professionalism, the gift of psychological influence and skill besides the talent is needed here. Ayan distributes this talent in the whole sequences. I was impressed by the inner integrity of the actress allowing her to join all these qualities feel the screen so sensitively. She copes with her part owing to deep and durable mastering of creative and technological basis of the cinema. Considering this part in the film which was shot during several months from emotional and psychological point of view I see it as a performance staged in a short time. Certainly, this is a metaphor because the means of expressiveness used by the actress was realized with application of the opportunities of the art of cinema (big plan, details, psychological montage, foreshortening, light). At the same time technical means- even the most advanced- cannot replace the expressiveness of the actress.

And one more very important circumstances I'd like to mention at the end. It should be stopped to look at our art from the point of view periphery and provincialism, but to be governed by the criteria of processes, happenings in the world culture and art.

I'll not speak for the others, for my belief the Azerbaijani art deserves the right to speak so about it. The film "The Strange Time"-is a vivid example to this.

Maryam Alizadeh