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Speaking of Russia and Armenian filmmakers, I was reading an article in the Armenian Reporter and I was disappointed to learn that Karen Gevorkian could not get [Russian] studio support to make a film about the story of Ara and Shamiram. He also couldn't get Armenian funding to make a movie about Mashtots and the creation of the Armenian alphabet.
He hasn't made a film in more than a decade, his last one being the 1990 Spotted Dog Running at the Edge of the Sea, which is about ethnic Nivkhs who live in the far east of Russia. It sounds interesting but I bet it's impossible to find a copy with subtitles.
It will, as long as the Armenian Republic is stable and continues on its forward momentum. If there is one thing Armenia does not lack, it's raw human talent.
The problem with Michael Clayton is George Clooney whose only character except for the one in perhaps O Brother Where Art Thou is George Clooney. He can't help but trip over his own bloated persona.
Michael Atkinson does "The Films of Sergei Paradjanov" and "El Cid." On the Kino set:
The films — "Shadows [of Forgotten Ancestors]," "The Color of Pomegranates" (1969), "The Legend of Suram Fortress" (1984) and "Ashik Kerib" (1988) — are all based on folk tales and ancient history (Ukranian, Armenian and Georgian), but only "Shadows" is centered on narrative. It's also the most visually dynamic; unfolding a tribal tale of star-crossed love and familial vengeance in the Carpathian mountains, the movie is one of the most restless and explosive pieces of camerawork from the so-called Art Film era, shot in authentic outlands with distorting lenses and superhuman capacity, and imbued with a grainy, primal grit.
The problem with Michael Clayton is George Clooney whose only character except for the one in perhaps O Brother Where Art Thou is George Clooney. He can't help but trip over his own bloated persona.
Except in Syriana, where the character was a fat version of George Clooney.
My problem with Michael Clayton was that [spoiler] he decided to turn Tilda Swinton in rather than walk away with the money. Bullshyt. We're sitting here, watching this fixer - divorced, careless father and gambler-in-debt - and in the end he decides to be the good guy. Tcha... you know what? Uh-uh!
Originally posted by freakyfreaky
Paradjanov is hot right now.
One of the greats, but are there any good contemporary Armenian filmmakers? Armenian as in Armenia. There are a few in the US, Canada, and Europe, or expatriates in Russia like Anna Melikyan and Aleksandr Atanesyan (by the way, check out his IMDb page, his Russian wife is hot.)
Except in Syriana, where the character was a fat version of George Clooney.
My problem with Michael Clayton was that [spoiler] he decided to turn Tilda Swinton in rather than walk away with the money. Bullshyt. We're sitting here, watching this fixer - divorced, careless father and gambler-in-debt - and in the end he decides to be the good guy. Tcha... you know what? Uh-uh!
One of the greats, but are there any good contemporary Armenian filmmakers? Armenian as in Armenia. There are a few in the US, Canada, and Europe, or expatriates in Russia like Anna Melikyan and Aleksandr Atanesyan (by the way, check out his IMDb page, his Russian wife is hot.)
Face it Mr. Clooney does not light up the box office. Except for ensemble pieces like Ocean's Eleven, he's been irrelevant financially since 2000's Perfect Storm.
As for Syriana, I didn't see it.
Between childhood, boyhood,
adolescence
& manhood (maturity) there
should be sharp lines drawn w/
Tests, deaths, feats, rites
stories, songs & judgements
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