The Orator, Voiz
The screening of a selection of Central Asian film organized at Centre of Contemporary Central Asia and the Caucasus at SOAS, London provides observers of the region's film scene a good opportunity to watch some interesting productions.
The first film in the series - The Orator (Voiz) – effortlessly cruises through a backdrop of historic moments visiting in the Uzbekistan of 1915 onwards peeking into how the circumstances touched the lives of ordinary men and women.
The Orator's writer and producer Yusup Razykov tells a story of Iskander, a poor cart man, who happens to find himself at the centre of events that impact his marital life, family relations and his position in the society. Firstly his dying brother compels him to marry his two wives to take care of their sustenance. Then, a chance encounter with some Bolsheviks on the run pulls him to the stage so that he could talk to the people of the locality, in their own language, about changes takes place in the society. The circumstances make him “the voice” of the Soviet authorities, who use him as a much needed public orator - an agitator.
Iskander’s ability to communicate brought him prominence in the local setup on the one hand but hosts of problems in his family life on the other as he faces a conflict between political compulsions and personal compassions. The well-timed twists and turns help a viewer witness clashes between some conserving social customs vis-à-vis while others conforming to the compulsions of the newly arrived communist comrades.
Despite the film being originally made in Uzbek language, it remains successful in getting its message across, offering poignant pointers to Central Asia’ past with many inferences still valid for the present. It offers a snapshot of the history of the establishment of Soviet power in Uzbekistan in a way not heavy with ideological debate but through light strokes of wit. Thus the film shows glimpses of “Hujum” a campaign during which Uzbek women were under pressure to renounce the wearing of traditional veils, embrace Russian language and march forward towards change.
Although the central character is a public speaker, the viewers are spared from long sermons about the ideology or history. Instead, a use of short but crisp dialogues and clever pauses is employed to convey and communicate with the viewers. The film is a delicate depiction of a long duel between dualities and dichotomies that were prevalent. Through episodes interwoven ingeniously the film shows an interplay of how individual lives was torn between own motivations and others’ machinations and the tussle between personal interests and party ideologies.
One is particularly intrigued by the character of Mariam Fazilovna, the
local Commissar, symbolizing an interplay of interests and inhibitions, the concessions and compromises she makes in her compassionate attempts to coopt Iskander. Here she is shown taking Iskander on a
joy ride. A leading Central Asian film expert Gulnara Abikeeva makes this note about Maryam Fazilovna in her review of The Orator:
The revolutionary activist Mairam Fazilovna.. "represents a caricature of "the liberated woman of the East", and it is created in accordance with the colorful kitsch style of the filmmaker. Maraim Fazilovna is arrested for "distortion of the politics of the Communist party" and thrown in jail. In jail she gives birth to Iskander’s only son. Iskander is afraid to claim the child for he may be accused in connection with an "enemy of people". His wives claim the boy and raise him as their own child because he is a son of their beloved master and husband. It is interesting to note that it is ... the fruit of his Revolutionary love that gives Iskander an heir. The story is told from the point of view of the son of this heir – the grandson of Mariam Fazilovna."
It is no wonder that The Orator was declared the winner of Kino-Shock award at Open Film Festival of CIS and Baltic States as a recognition of the masterpiece by the writer/producer Yusup Razykov shown on the left here. More about the producer is available here
Details about the film's cast and other information may be seen at some Russian language sites.
The first film in the series - The Orator (Voiz) – effortlessly cruises through a backdrop of historic moments visiting in the Uzbekistan of 1915 onwards peeking into how the circumstances touched the lives of ordinary men and women.
The Orator's writer and producer Yusup Razykov tells a story of Iskander, a poor cart man, who happens to find himself at the centre of events that impact his marital life, family relations and his position in the society. Firstly his dying brother compels him to marry his two wives to take care of their sustenance. Then, a chance encounter with some Bolsheviks on the run pulls him to the stage so that he could talk to the people of the locality, in their own language, about changes takes place in the society. The circumstances make him “the voice” of the Soviet authorities, who use him as a much needed public orator - an agitator.
Iskander’s ability to communicate brought him prominence in the local setup on the one hand but hosts of problems in his family life on the other as he faces a conflict between political compulsions and personal compassions. The well-timed twists and turns help a viewer witness clashes between some conserving social customs vis-à-vis while others conforming to the compulsions of the newly arrived communist comrades.
Despite the film being originally made in Uzbek language, it remains successful in getting its message across, offering poignant pointers to Central Asia’ past with many inferences still valid for the present. It offers a snapshot of the history of the establishment of Soviet power in Uzbekistan in a way not heavy with ideological debate but through light strokes of wit. Thus the film shows glimpses of “Hujum” a campaign during which Uzbek women were under pressure to renounce the wearing of traditional veils, embrace Russian language and march forward towards change.
Although the central character is a public speaker, the viewers are spared from long sermons about the ideology or history. Instead, a use of short but crisp dialogues and clever pauses is employed to convey and communicate with the viewers. The film is a delicate depiction of a long duel between dualities and dichotomies that were prevalent. Through episodes interwoven ingeniously the film shows an interplay of how individual lives was torn between own motivations and others’ machinations and the tussle between personal interests and party ideologies.
One is particularly intrigued by the character of Mariam Fazilovna, the
local Commissar, symbolizing an interplay of interests and inhibitions, the concessions and compromises she makes in her compassionate attempts to coopt Iskander. Here she is shown taking Iskander on ajoy ride. A leading Central Asian film expert Gulnara Abikeeva makes this note about Maryam Fazilovna in her review of The Orator:
The revolutionary activist Mairam Fazilovna.. "represents a caricature of "the liberated woman of the East", and it is created in accordance with the colorful kitsch style of the filmmaker. Maraim Fazilovna is arrested for "distortion of the politics of the Communist party" and thrown in jail. In jail she gives birth to Iskander’s only son. Iskander is afraid to claim the child for he may be accused in connection with an "enemy of people". His wives claim the boy and raise him as their own child because he is a son of their beloved master and husband. It is interesting to note that it is ... the fruit of his Revolutionary love that gives Iskander an heir. The story is told from the point of view of the son of this heir – the grandson of Mariam Fazilovna."
It is no wonder that The Orator was declared the winner of Kino-Shock award at Open Film Festival of CIS and Baltic States as a recognition of the masterpiece by the writer/producer Yusup Razykov shown on the left here. More about the producer is available hereDetails about the film's cast and other information may be seen at some Russian language sites.
Comments