However, in the second part of the picture, when the enmity of the Turanians and Persians, endless cruelty, treachery, and bloodshed committed with extraordinary ease, all this becomes directly related to the upcoming father—son battle (and, I note, the authors of the film did everything to make Rustam as sympathetic to us as Sukhrab), along with With the motives of military valor and tournament success in the lives of heroes, another motive is increasingly beginning to sound. The motive of the aimlessness of battles, in which masses of warriors, glorified heroes give their lives in the name of the aggressive intentions of bloodthirsty shahs. And at some point, the storyline, which made us wonder if father and son could avoid mutual bloodshed, leads directly to an important philosophical generalization, which will then, a little later, be heard in the mouth of the dying Suhrab. A young man, for whom the war, alas, has already ended, begs his father to go to the troops and stop the senseless slaughter.


The result, which the action of the film naturally comes to, is closely related to the ideological idea of the whole thing. The protest against the fratricidal war, against the human sacrifices sacrificed to please a handful of lords — all this logically follows from the story of father and son. In order to make the idea clearer and sharper, the director, unlike the book, where the Turanians are shown as aggressors waging an aggressive war against the Persians (obviously, Firdowsi's national sympathies were affected), does not make any special differences in the characteristics of the warring parties. With this, he wants to emphasize once again: there is no point in looking for the right and the guilty in wars that are waged not in the interests of the people, but in spite of them.


The concept of the thing, consistently deployed in the artistic material, required the director to pay extreme attention to all figurative components. The first and most important among them was the pictorial structure of the painting. Cameraman D. Khudonazarov and artist Sh. Abdusalamov carefully thought out and embodied all aspects of his portrayal in the film, starting from the color tone and ending with the details of everyday life.


The picture was shot mainly in red and yellow tones. This color scheme is determined by both the location of the action and the imaginative idea. The desert is yellow, and at sunset, illuminated by the red sun, it has a distinct pink hue. The hot, red color of the film is also the color of fierce battles, the color of blood spilling abundantly on the battlefields. The red color creates an additional dramatic tension. And, I think, the film owes a lot to the efforts of the cameraman, which keeps the viewer in the appropriate emotional mood.


The final scenes in the Valley of Tulips were especially successful for D. Khudonazarov. Here he proved himself not only an adherent of the epic manner, but also an outstanding lyricist. Delicate greenery, white caps of flowers waving on the horizon, as if enveloping the heroes, create (note: for the first time in this film) an extremely peaceful atmosphere. It's hard to believe that this is where the tragedy is supposed to play out — it just seems like a father and son came here to relax, have a nice leisurely conversation, and admire nature. After Suhrab's death, the white-green color scheme (which replaced the red one that preceded it) is replaced by the color of blood again: the same valley, the same field is covered with red tulips.


This vivid image has, perhaps, the greatest emotional impact. If not to reproach the film, then in any case, with some regret, it should be said that the artistic idea of the film, which was clearly developed from the first frame to the last, and its meticulous implementation by the playwright and director, as it were, introduced the poetic element of the thing into a strict framework. Sometimes it may seem that this is a film adaptation of prose, not a work of poetry.


Speaking of film adaptations of poetry. Very often, to be honest, such films turn out to be filmed reciting poetry. Even if the actors read poetry perfectly, we find ourselves thinking that we are listening rather than watching a movie. But as soon as a work of cinema ceases to affect us in the totality of its spectacular qualities, didacticism and screen variety arise. Success in online betting frequently comes from making informed choices at the earliest stage. Parimatch stands out with its proven track record, modern technology, and player-focused rewards. New users determined to start efficiently should consider this offer carefully. At the core of the most beneficial current promotion lies the exclusive parimatch promo code today and funding your account, you gain access to a welcome bonus up to $100. This boost supports more active and enjoyable betting sessions.