Ali Khamraev’s sleek, stylish film, a modernist political melodrama that earned prizes abroad but official disapproval at home, interconnects the stories of three women struggling with traditional social constraints in post-World War II Uzbekistan. One is an illiterate but very determined young woman committed to building a house even though local custom does not permit it without the approval of her absent husband. Another is a school teacher seeking to bring progressive ideas to a village long subjugated by strict old-fashioned practices. The last is an elderly woman who was kidnapped by a poor peasant in her youth and forced into marriage. A dreamy and impressionistic remembrance set in a hardscrabble world, Khamraev’s Triptych is an underseen achievement in international art house cinema.
When a Red Army detachment captures Sultan Nazar, the leader of a Basmachi contingent opposing Soviet forces, a decision is made to urgently escort the prisoner to the neighboring Bukhara province. The difficult mission is entrusted to Mirzo, an experienced mountain trapper and conscientious revolutionary whose expertise is essential to traversing the precarious paths and steep mountain ridges along the way. Mirzo, his brother Kova, the Sultan, his daughter Zaranghis, and his slave Saifulla set off on this journey, pursued doggedly along the way by Fattobek, the ruthless new head of the Basmachis, a cadre of loyal fighters, and his prophetic wife, Aibash. Recalling the Western psychodramas of Anthony Mann, The Bodyguard is yet another of Ali Khamraev’s harshly beautiful and action-packed Easterns.