Kazakhstan's film industry may not be widely known in the world due to various reasons. It appears as growing complex phenomenon in the modern day history of the country, and, sadly is not listed in the top 100 government investment areas.
It all began with creating the first ever Kazakh Almaty studio feature films just before the Second World War. The studio was widely used for making war films, both feature and documentary. Moscow transferred there its best equipment and personnel.
Best of the Kazakh films made during Soviet times include “Heroes of the Steppe” by Roshal, “White Rose” by Aron, “The sounds of dombra” by Minkin (first Kazakh musical), “Amangeldy” by Levin, “Kyz Zhibek”, “Our dear doctor”, “My name is Kozha” and many more.
After the collapse of the Soviet Union, the so called “new wave” arrived and started shaping and developing new Kazakh film industry.
New wave created such masterpieces as “Fara”, “Three brothers”, “The Needle”, “Leila's Prayer”, “Mongol”, “The Nomads”, “Abay” and others.
For the last decade Kazakh filmmakers has acquired awards in many prestigious International Film Festivals like San-Francisco, Cannes, Turin, Nantes, Lisbon, Frankfurt, Paris.
Alongside that, modern day Kazakh cinema industry continues to be accused of making films for festivals and various grand prix contests, whereas Kazakh viewers remain to be deprived of watching their own national films.
There are few reasons as to why Kazakhs are not aware of their own movies, which include poor PR, lack of funding for both state and commercial film companies, preference for making “festival cinema” rather than for ordinary national viewer. There are also certain difficulties in presenting the story line, as some of the newest criminal dramas mostly resemble their Russian counterparts. Another important factor to mention is that there is no adequate legislation on cinema introduced in Kazakhstan’s law practice, which increasingly hinders the process and affects the filmmakers as well as potential investors.
The neutral observer may find that industry remains in the state of constant transformation for the last decade in terms of modernisation, adjustment to the world cinema standards and development of its own unique style of creation.
Such changes can be easily traced in “Kelin” (literal translation daughter-in-law) a challenging piece by Ermek Tursunov which was duly nominated for US Academy Award. It tells the story of a small family living in wilderness of snow covered Altai mountains in quiet isolation; speechless characters live their daily life embarking on a survival mode and it is presented in slow, sometimes motionless manoeuvring. Most crucial things are soaked in philosophical interpretation, allowing the viewer to identify the hidden rules and traditions. It is certainly worth watching for those convinced that Kazakhs dwelled in astonishingly barbaric setting comparable with those of Scandinavian Vikings once in the past.
The Nature interacts with people in different forms, which in turn helps to build up strong emotions by the end of the film where the snow avalanche is cutting the characters from their previous lives. The main message stands still unrevealed as an old lady turns away and leaves her Kelin with a new-born baby behind.
Mentioning the Scandinavians, one cannot help noticing that there is another “silent” film of that sort, full of deep wilderness and the Dialogue with the Nature. Kazakh “Kelin” and Danish “Valhalla Rising” are pretty much similar in their concept to show the idea of wilderness and the beginning of creation. Nature plays here the major role of the Universe where the Person is left to face himself/herself among the most natural and challenging conditions where one cannot rely on anyone and is forced to struggle alone in the darkness. It carries philosophical meaning by challenging the utmost primitive laws of nature and accepting it.
The main character in “Kelin” is a young girl who being taken away from her family to her lifetime journey faces the same old “challenges” as every other girl in her situation – unknown future with the husband. Only in her case the husband is forced upon her, she didn’t choose him. She is being sold by her family to a man who offered better price and who rushes to “try” his newly acquired trophy. She might be seen as a victim from certain perspective and yet the further story goes the less impression she gives of being the one.
One of the difficulties the viewer may encounter in both Valhalla and Kelin stems from the fact that what they suggest appear to be unreal, sometimes too cruel and brutal and yet absolutely natural and truthful almost close to the feeling of homecoming at some parts.
Another unique piece to consider watching is a historical drama “Mustafa Shokay”. Shokay is perceived to be Pan-Turkic leader attempting to set up the independent Kokand Autonomy, the idea which put him in the centre of Bolsheviks’ close “attention” and entailed his eventual escape to the West after Kazakh revolutionaries he headed were annihilated.
True, the Western audience may argue that the message of the film remains unclear and concealed due to the ambiguity of the main character himself. However, this film is believed to be one of the first serious historical incentives of Kazakh film industry. There are clearly some positive ideas to consider about Shokay as well as criticism. The love story sometimes interferes with the main storyline about Shokay's interaction with the Soviet power both during his stay inside the country and abroad.
The director did not fail to show however the passion and love of Shokay towards his home land, the way how strongly he felt about helping his own nation to face the Soviets and to expose the truth about the real history in the making. Shokay's passionate dedication to serve his people and to tell them the truth about the country they were living in brought him at some point to work with Nazis - the fact that shadows his historical role up to the present day. Though the fact frequently overlooked is that in the result of his alleged collaboration with Nazis Shokay managed to save the lives of around 100 000 Soviet POWs.
The idea of working with Nazis is found difficult to embrace and might have composed fairly challenging task for Satybaldy Narymbetov. The film took five years of careful planning, researching and consideration to complete.
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