It’s become evident early on that the challenge I’ve set before myself with these final 200 films won’t be easy. I didn’t think that it would be. I knew there would be difficulties. I anticipated having trouble finding all of these films, and know that the challenge will be even greater after Netflix can no longer be of service (about 50 films from now). I also anticipated the inevitable. Long gone are Casablanca, and The Godfather. The remaining films won’t be the ones that are an absolute joy to watch. While there have certainly been some difficult movies up until now, I assume that this last 200 will contain some of the most challenging pictures.
This assumption was confirmed with Sergei Parajanov’s Shadows of Forgotten Ancestors (1964). The Ukrainian film isn’t devoid of striking moments, but on the whole it was lost on me. 1001 acknowledges that the story, which combines elements of Romeo and Juliet and various European folklore, serves as merely the vehicle for the cinematography of Yuri Ilyenko. I’m certainly in agreement that the film is an achievement in this regard, as the unique angles and use of focal length make for some interesting compositions. Still, I can’t say that this element saves the picture, which frankly felt like the cliftnotes version of a story. The narrative holes are supplemented by chapter titles which do little more than describe what is to come before the film reaches its abrupt and confusing conclusion.
To be fair, the film also incorporates some dazzling editing, but in all, these brief moments can’t supplant the overall puzzling nature of the picture. Displaying interesting elements of the Carpathian Mountain culture, which entails elements of both Christian and pagan religion, the film has the potential to be engaging to those employed as professors of anthropology. However, for even an avid lover of film this one was difficult to engage.
Grade: One Hat Off
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