Like Fellini’s Amarcord, whose title it recalls, I Remember You is a semi-autobiographical meditation on the past. Kim, a veterinarian, leaves Samarkand at the request of his seriously ill mother and heads on a voyage across Russia in search of the grave of his father who died during the war. Reflecting Ali Khamraev’s own personal history – his Ukrainian mother and Tajik father, his father’s death during World War II, his own subsequent voyage with his brother to find the grave – this poetic journey into the subconscious memory is rendered in images of extraordinary intensity and beauty and one of Khamraev’s true masterpieces.
Triptych (Ali Khamraev, 1980)
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.
The Bodyguard (Ali Khamraev, 1979)
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.
The Seventh Bullet (Ali Khamraev, 1972)
The Seventh Bullet is set after the Russian Civil War as Soviet power established itself in Central Asia and as opposing Basmachi rebels cross the border bringing death and destruction to peaceful villages. Local militia leader Maksumov struggles in his campaign against Basmachi warlord Khairulla who has captured most of his men and won them to his side. With little other option, Maksumov gives himself up in hopes of being reunited with his men and winning them back to the Revolution. Ali Khamraev’s take on the Red Western was an international hit, featuring rollicking action, reassuring heroism, and an unstoppable performance by its star, Suymenkul Chokmorov.
White, White Storks (Ali Khamraev, 1966)
In an isolated and conservatively traditional Muslim village in Uzbekistan, a married woman, Malika, falls in love with a soft-spoken foreigner, Kayum, who has brought liberal Soviet attitudes and principles to the community, sometimes setting himself against the subordination of the town’s women by their male counterparts. Tensions rise as Kayum and Malika openly grow closer, raising the ire of Malika’s father and her husband as well as among those interested in maintaining the village’s old ways. A breakthrough film for Ali Khamraev, White, White Storks is a beautifully rendered docudrama that combines the textured honesty of Italian Neorealism, the family dynamics and tragedies of Yasujiro Ozu, and the poetry of Mikhail Kalatozov’s The Cranes Are Flying.
The Rugged Odysseys of Ali Khamraev
Eclipse is a selection of lost, forgotten, or overshadowed classics in simple affordable editions. Each series is a brief cinematheque retrospective for the adventurous home viewer.
An artist of rock-solid humanism and amazing expressive power, Ali Khamraev is a giant who sits astride the history of Uzbek cinema. A graduate of Moscow’s Gerasimov Institute of Cinematography in 1961, he went on to make more than thirty documentaries and twenty feature films – criss-crossing between romantic comedies, Western adventures, political dramas, TV mini-series, and art cinema. Through them all, Khamraev engages in the unveiling of traditional Muslim Uzbekistan and expresses a faith in the modernizing influence of Soviet values and technology. A wizard with landscapes and an instinctual expert of social dynamics, Ali Khamraev is truly an underappreciated master of world cinema.
White, White Storks (Belye, belye aisty)
Influenced by Mikhail Kalatozov’s black-and-white classic The Cranes Are Flying, the Italian Neorealist movement, and the interpersonal dramas of Yasujiro Ozu, Ali Khamraev traces the impossible romance of a married woman and an unconventional outsider in a small, traditional Uzbek village called “White Storks.”
The Seventh Bullet (Sedmaya pulya)
Set during the Central Asian revolts of the 1920s, a Red Army commander allows himself to be captured by a Basmachi warlord to reunite with his imprisoned battalion and lead them to victory in this Western-inspired adventure in the Soviet frontier.
The Bodyguard (Telokhranitel)
A grizzled mountain trapper and a conscientious revolutionary are tasked by a Red Army unit with the difficult task of transporting a captured sultan, along with his daughter and his loyal servant, through a harsh mountain landscape to a neighbouring province while pursued by a ruthless Bashmachi warrior.
This modernist political melodrama set in a small northern town in 1946 follows three women struggling with the social constraints of post-World War II Uzbekistan: an illiterate girl who wants to build a house on her own, a school teacher aiming to bring progressive ideas to the villagers, and an old woman kidnapped in her youth by a poor peasant and forced into marriage.
I Remember You (Ya tebya pomnyu)
In this semi-autobiographical meditation on the past, an adult son’s journey from Samarkand across Russia to find the grave of his father becomes a poetic voyage into his subconscious memory and an exploration of intersecting Uzbek and Russian traditions.
With notes by Kent Jones