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Programme
5-10 MAY, 2020

Exibition opening story

1920’s Georgian Cinematography
Georgi Kakabadze, Ketevan Sadagishvili, Sofio Patsiashvili, Valery Levchenko, Sofia Jobava, Nino Kavtaradze worked on the exhibition.


The photo exhibition 1920S GEORGIAN CINEMATOGRAPHY combines about forty films, created on the basis of SAKHKINMRETSVI in 1921-29. Most of the presented photo material is still unknown to a wide audience.
Year after the birth of cinema, on November 16, 1896, the first cinema show was held in Tbilisi. In 1904, the first cinema ILUSIONI was opened. In 1907, photographer Alexander Dighmelashvili (Dighmelov) made interested in filming. Likewise, in 1908, one of the pioneers of Georgian cinema, Vasil Amashukeli, created newsreel stories, and in 1912 he shot the first feature-length Georgian documentary, JOURNEY OF AKAKI TSERETELI TO RACHA AND LECHKHUMI. In 1917, director Aleksandre Tsutsunava and the first Georgian film entrepreneur Germane Gogitidze made the first Georgian feature film "Christine". In 1921, during the First Republic of Georgia (1918-21), Germane Gogitidze directed the shooting of newsreels. After the Sovietization, Soviet cinema entered a new phase: the Central Film Institute SAKHKINMRETSVI (Goskinprom) was established and one of the fascinating and original periods in the history of Georgian cinema began. In the first half of the 1920s, directors from Russia were involved in the filmmaking process: Amo Bek-Nazarov (MAMIS MKVLELI /PATRICIDE – 1923, NATELA - 1926); Ivan Perestiani (ARSENA JORJIASHVILI - 1921, TSITELI ESHMAKUNEBI /RED DEVILS - 1923, SAMI SITSOTSKHLE/THREE LIVES - 1925) and Vladimir Barsky (MODZGHVARI/THE EXILE - 1922, METSKHRE TALGHA/NINTH WAVE - ​​1925). Nato Vachnadze, the star of Georgian cinema, appears in his film for the first time (ARSENA KACHAGHI /ARSENA, THE OUTLAW- 1923).
From the second half of the 1920s, Soviet film production became even more widespread, and Georgian authors appeared on the scene: theater director Kote Marjanishvili (SAMANISHVILIS DEDINATSVALI/STEPMOTHER OF SAMANISHVILI – 1926, AMOKI – 1927), who successfully shared his experience working with actors and introduced the traditional means of expression in cinema; Aleksandre Tsutsunava (VIN ARIS DAMNASHAVE/WHO IS THE GUILTY – 1925, KHANUMA – 1926, ORI MONADIRE/TWO HUNTERS – 1927, JANKI GURIASHI/REVOLT IN GURIA – 1928), whose films successfully unite the experience of the Georgian theatre and opera with the visualization of national motives;
It should be noted that making of screen versions of literary works by Georgian (Egnate Ninoshvili, Davit Kdliashvili, Aleksandre Kazbegi), as well as foreign authors (Stefan Zweig, Mikhail Lermontov, Ethel Lilian Voynich) has become a tendency during this period. The reasons are many.
The film politics of the 1920s, along with the ideologized films, opens the space for the authors for visual experiments and shape searches. Georgian authors are influenced by the world, more specifically, the Russian film avant-garde of the 1920s. They reject traditions and practices with outdated expression and create a "new cinema", impregnated with futuristand avant-garde pathos. In the second half of the 1920s, young authors appeared on the arena: Mikheil Kalatozishvili (Kalatozov) (JIM SHUANTE/SALT FOR SVANETIA - 1929); Nikoloz Shengelaia (GIULI – 1927, ELISO - 1928); Leo Esakia (HOLTZE/ON THE HOLT – 1928); Mikheil Chiaureli (UKANASKNEL SAATS/AT THE LAST MINUTE – 1929, SABA – 1929); Zakaria Berishvili (IBRAHIM AND GODERDZI – 1927, GHRUBELTA TAVSHESAPARI/SHELTER FOR THE CLOUDS – 1928); Siko Dolidze (MITSIS DZAKHILI/THE EARTH IS CALLING – 1929); Kote Mikaberidze (CHEMI BEBIA/MY GRANDMOTHER – 1929).
Shape searches and experiments are becoming an unconditional alternative in their work, and films are as empty as possible from literature and theater: this would be a poetic-rhythmic montage by Nikoloz Shengelaia in ELISO; strong desire to convey space on the screen and the tradition of establishing a subjective camera in Mikheil Kalatozov's JIM SHVANTE or the expressionist understanding of the bureaucratic machine in Kote Mikaberidze's MY GRANDMOTHER. All these films create a unique example of the Georgian film avant-garde of the 20s. It should also be noted that later some of them, due to a bold experiment, were also accused of formalism and avant-garde aspirations almost ended their film career.
The photo exhibition 1920S GEORGIAN CINEMATOGRAPHY combines about forty films, created on the basis of SAKHKINMRETSVI in 1921-29. Most of the presented photo material is still unknown to a wide audience. We think, this exhibition will give you some idea of ​​the silent period of the 1920s Georgian cinema.

CONTINUE
Metskhre Talgha/The Ninth Wave 1926
Director: Vladimi Barsky
Screenwriters: Sergei Garin, Petre Morskoi
Camera operator: Anton Polikevich
Amoki 1927 
Screenwriter and director: Kote Marjanishvili
Camera operator: Sergei Zabozlaev
Production designer: Valerian Sidamon-eristavi
Filmed according to Stephan Zweig’s novella Amok.
On the photo: Nato Vachnadze (European woman), Aleksandre Imedashvili (doctor)
Ibrahimi and Goderdzi 1927
(The First and the Last)
Director: Zakaria (Zakro) Berishvili
Screenwriter: Samson Sulakauri
Camera operator: Aleksandre Polikevich
Production designer: Valerian Sidamon-eristavi
Ghrubelta Tavshesapari/Shleter of Clouds 1928
(Meeting with Life)
Director: Zakaria (Zakro) Berishvili
Screenwriter: Samson Sulakauri
Camera operator: Anton Polikevich
Production designer: Valeria Sidamon-eristavi
Tsarsulis Sashinelebani/ Horrors of the Past 1925
Director: Valerian Barsky
Screenwriter: Grigol Arustanov
Camera operator: Sergei Zanozlaev
Production designer: Polikarpe Kazakevich
Arsena Jorjiashvili 1921
Director: Ivan Perestiani
Screenwriter: Shalva Dadiani
Camera operator: Aleksandre Dighmelov
Production designer: Fiodor Push
Tavadis Asuli Meri/
Duchess Meri 1926
Screenwriter and director: Vladimir Barsky
Camera operator: Ferdinand Gegele, Anton Polikevich
Production designer: Valerian Sidamon-eristavi, Fiodor Push
Filmed according to Mikhail Lermontov’s novel A Hero of Our Life.
On the photo: Tamar Bolkvadze (Princess Meri) and Nikoloz Prozorovsky (Pechorin)
Mamis Mkvleli/The Patricide 1923
Screenwriter and director: Amo Bek-Nazaryan
Camera operator: Sergei Zabozlaev
Production designer: Valerian Sidamon-ersitavi, K. Tiri
Filmed according to Aleksandre Kazbegi’s story of the same title.
On the photo: Nato Vachnadze (in the part of Nunu).
Krazana/The Wasp 1928
Director: Kote Marjanishvili
Screenwriters: Kote Marjanishvili, Victor Shklovsky
Camera operator: Sergei Zabozlaev
Production designer: Valerian Sidamon-ersitavi
Filmed according to Ethel Lilian Voynich’s novel of thesame title.
On the photo: Nato Vachnadze (Jema) and Iliko Merabishvili (wasp-Arthur). 
Janki Guriashi/Revolt in Guria 1928
Screenwriter and director: Aleksandre Tsutsunava
Camera operator: Aleksandre Dighmelov
Production designer: Dimitri Shevardnandze
Filmed according to Egnate Ninoshvili’s novel of the same title.
On the photo: in the center actress Tamar Bolkvadze.
Natela 1926
Director: Amo Bek-Nazarov
Screenwriters: Sh. Shishmarev, Amo Bek-Nazarov
Camera operator: Sergei Zabozlaev
Production designers: Valerian Sidamon-eristavi, Fiodor Push
Samanishvilis Dedinatsvali/Samanishvili’s Stepmother 1927
Directors: Kote Marjanishvili, Zakaria (Zakro) Berishvili
Screenwriters: Sergo Kliashvili, Nikoloz Shengelaia
Camera operator: Sergei Zabozlaev
Production designer: Semion Gubin-gun, Mikheil Chiaureli
Filmed according to David Kldiashvili’s story of the same title.
On the photo: Akaki Vasadze, Shalva Ghambashidze, Tsetsilia Tsutsunava, Aleksandre (Sandro Zhorzholiani).

Sami Sitsotskhle/Three Lives 1924
Screenwriter and director: Ivan Perestiani
Camera operator: Alexander Dighmelov
Production designer: Semion Gubin-gun
Filmed according to Giorgi Tsereteli’s novel The First Step.
On the photo: Nato Vachnadze (Esma) and Mikheil Gelovani (Bakhva Pulava). 
Bella 1927
Screenwriter and director: Vladimir Barsky
Camera operators: Anton Polykevich, Ferdinand Gegele
Production designers: Valerian Sidamon-eristavi, Fiodor Push
Filmed according to Mikhail Lermontov’s novel The Hero of Our Life.
Arsena Kachaghi/Arsena, the Brigand 1923
Director and screenwriter: Vladimir Barsky
Camera operator: Alexander Dighmelov
Production designer: Valerian Sidamon-eristavi
Mitka, Petka and Chemberlen
1927
Director: Alexander Segel
Screenwriter: I. Filder
Camera operator: A. Vinkler
Komunaris Chibukhi/The Communard’s Pipe 1929
Screenwriter and director: Kote Marjanishvili
Camera operator: Sergei Zabozlaev
Production designer: Valerian Sidamon-eristavi
Filmed according to Ilya Ehrenburg’s story of the same title.
On the photo: Ushangi Chkheidze (Rou) and Sergei Zabozlaev (junior), camera operator Sergei Zabozlaev’s son.
Tariel Mklavadzis Mkvlelobis Sakme/The Case of Tariel Mklavadze 1925
Director: Ivan Perestiani
Screenwriter: Shalva Dadiani
Camera operator: Alexander Dighmelov
Production designer: Seimon Gubin-gun
Filmed according to Egnate Ninoshvili’s story The Hero of Our Country.
Chkari N2/Fast N2 1929
Director: Giorgi Makarov
Screenwriters: Peter Morskoy, Shalva Khuskivadze
Camera operator: Victor Engels
Production designer: Robert Fedor
Saba 1929
Director: Mikheil Chiaureli
Screenwriters: Arsen Aravsky, Shalva Alkhazishvili
Camera operator: Anton Polikevych
Producton designers: Lado Gudiashvili, David Kakabadze
On the photo: Actress Veriko Anjapharidze (Maro) and Andro Januashvili (Vakhtang).
Kazakebi/Cossacks 1928
Director: Vladimir Barsky
Screenwriters: Victor Shklovsky, Vladimir Barsky
Camera operator: Ferdinand Gegele
Production designer: Valerian Sidamon-eristavi
Filmed according to Leo Tolstoy’s story of the same title. 
Ori Monadire/Two Hunters 1927
Director: Aleksandre Tsutsunava
Screenwriters: Aleksandre Tsutsunava, Leri Japharidze
Camera operator: Sergei Zabozlaev
Production designer: Valerian Sidamon-eristavi
Filmed according to Ilia Elepteridze’s story.
On the photo: Kote Mikaberidze (on the right), Mikheil Gelovani (on the left).
Ilan-dili 1926
Director: Ivan Perestian
Camera operator: Alexander Dighmelov
Production designer: Fiodor Push
Film is shot without screenwrite.
On the photo: Sofia Josephey (Duniasha), Pavel Yesikovsky (Misha), Svetlana Luiks (Oksana), Kador Ben-Saib (Tom Jackson), Marius Jacobin.
Chemi Bebia/My Grandmother 1929
Director: Kote Mikaberidze
Screenwriters: Giorgi Mdivani, Kote Mikaberidze
Camera operator: Anton Polikevich, Vladimir Posnan
Production designers: Irakli Gamrekeli, Valerian Sidamon-eristavi
Savur-mogila/The Savur Grave 1926
Director: Ivan Perestyan
Camera operator: Alexander Dighmelov
Production designers: Fiodor Push, Semion Gubin-gun
Film is shot without a screenplay.
Film represents the continuation of the directors work Red Devils, shot in 1923. 
Khanuma 1926
Screenwriter and director: Aleksandre Tsutsunava
Camera operator: Sergei Zabozlaev
Production designers: Valerian Sidamon-eristavi, Mikheil Shavishvili
Film is shot according to Avksenti Tsagareli’s play of the same title.
On the photo: in the middle – Anastasia (Taso) Abashidze, on the left – Mikheil Chiaureli (Dito), on the right – Vladimer Trapaidze (Mito)
Vin Aris Damnashave?/Who is the Guilty? 1925
Screenwriter and director: Aleksandre Tsutsunava
Camera operator: Sergei Zabozlaevi
Production designer: Dimitri Shevardnadze
Film is shot according to Nino Nakashidze’s play of the same title.
On the photo: director, actor Kote Mikaberidze (Siko) and Sofia Josephey (Janette, circus actress)

Tetri Mkhedari (Omis Ghmerti)/The White Warrior (God of the War) 1929
Director: Efim Dzigani
Screenwriters: L. Goldenveizer, Efim Dzigani
Camera operator: Sergei Zabozlaev, Alexander Galperin
Production designer: Robert Fedor 
Akhalgazrdoba Imarjvebs/The Youth Wins 1928
Director: Mikheil Gelovani
Screenwriter: Giorgi Mdivani
Camera Operator: Alexander Dighmelov
Production designer: Valerian Sidamon-eristavi
On the photo: on the left – Akaki Khintibidze (Ismail)
Gogi Ratiani  1927
Director: Kote Marjanishvili
Screenwriter: Aristo Chumburidze
Camera operators: Vladimer Kereselidze, Sergei Zabozlaev
Production designer: Valerian Sidamon-eristavi
On the photo: Gogi Dadeshkeliani (Gogi Ratiani)
Child actor of Georgian mute film Gogi Dadeshkeliani (alias for screen Gogi Ratiani) is shot in the following films: Norchi Mfrinavi/A YoungPilot, Eliso, Ori Tselki/Two Naughty Boys.
Kali Bazrobidan /Woman from Bazar
Director: Giorgi Makarov
Screenwriters: Giorgi Makarov, Petre Morskoy, Victor Engels
Camera operator: Victor Engels
Production designer: Robert Fedor
Film is shot according to Eugene O’Neill’s play Desire Under the Elms
Mtebis Kanoni/Rule of Mountains 1927
Director: Boris Mikhin
Screenwriters: Izmaila Bey Abai, Boris Mikhin
Camera operator: Anton Polikevich
Production designer: Valerian Sidamon-eristavi
Tsiteli Eshmakunebi/Red Devils 1923
Director: Ivan Perestiani
Camera operator: Alexander Dighmelov
Production designer: Fiodor Push
Film is shot according to Pavel Bliakhin’s story of the same title.
Boshuri Siskhli/Gypsy Blood 1928
Director: Lev Push
Screenwriter: Petre Morskoy, Aleksandre Takaishvili, Mikheil Kaltozishvili
Camera operator: Alexander Galperin, Mikheil Kalatozishvili
Production designer: Mikheil Shavishvili
Film is shot  according to Konstantin Berkovich’s story of the same name.
On the photo: in the middle Aleksandre Takaishvili
Maksim Maksimich 1927
Director and screenwriter: Vladimir Barsky
Camera operator: Ferdinand Gegele       
Production designer: Polikarpe Kazakevich
Film is made according to Mikhail Lermontov’s novel A Hero of Our Time.
On the photo: Bela Beletskaya (Circassian woman), Nikoloz Prozorovsky (Pechorin).

Suramis Tsikhe/The Suram Fortress 1922
Screenwriter and director: Ivan Perestiani
Camera operator: Boris Zavelev
Production designers: Evgeni Lansere, Valerian Sidamon-eristavi
Film is shot according to Daniel Chinkadze’s story of the same title.
On the photo: Amo Bek Nazarov (Durmishkhani)
Pirveli Korneti Streshniovi/The First Cornet Streshnev 1928
Directors: Efim Dzigan, Mikheil Chiaureli
Screenwriter: Arsen Aravsky
Camera operator: Victor Engels
Production designer: Robert Fedor
Shirvanskaias Danashauli/The Crime of Shirvanskaya 1926
Director: Ivan Perestiani
Camera operator: Alexander Dighmelov
Production designers: Semion Gubin-Gun, Fiodor Push
Film is shot without screenplay.
The film represents the continuation of Ivan Perestiani’s The Savur Grave (1926).
Gaplangva/Spending 1927
Director: Ivan Perestiani
Screenwriters: Nikoloz Shengelaia, Sergo Kldiashvili
Camera operator: Alexander Dighmelov
Production designers: Valerian Sidamon-eristavi, Fiodor Push
Ukanasknel Saats/At the Last Minute 1929
Director: Mikheil Chiaureli
Screenwriter: Boris Leonidov
Camera operator: Victor Engels
Production designer: Robert Fedor
On the photo actress: Aleksandra Toidze (Dina).
Giuli 1927
Directors: Nikoloz Shengelaia, Lev Push
Screenwriters: Nikoloz Shengelaia, Lev Push, Mikheil Kalatozishvili
Camera operator: Mikheil Kalatozishvili
Production designer: Valerian Sidamon-eristavi
Filmed according to Shio Aragvispireli’s story of the same name.
On the photo: Nato Vachnadze in the part of Giuli.