I’m a Very Small Person to be against that monstrous time, that powerful time: Artazavd Pelechian
Presentation of “Marking Time” by Artazavd Pelechian was launched these days.
“Marking time” published by Artavazd Pelechian’s scrupulous, tactful, demanding glance is already on the reader’s table.
It’s a two-volume book, including scripts of different movies by the Master, very few articles telling about himself, master classes with his participation, excerpts devoted to him, and even unfulfilled plans.
The evening at Cafesjian Museum of Art was one of those rare events for the readers, admirers of Pelechian’s movies, his friends and relatives, those heard of him, once again be next to the great Master, get acquainted with his thoughts and secrets of his philosophy.
Davit Muradyan, film critic, unwittingly confessed, that it’s difficult for him to speak, as word and Pelechian’s movie aren’t so easily combined, “Pelechian evicted words from his movie, as he doesn’t trust them, as the word is given to a person to conceal his thoughts, that’s the reason he evicted the word, liberated the movie from the word, as it may be temporary, and image is eternal, as Pelechian’s movie is.”
Tigran Mansurian, Pelechian’s contemporary and close friend, was also among the participants.
As usual, with an invisible, untouchable illumination he greets the participants, sharing that light with the audience attentively listening to him, “Dear Pelechian, my good friend, it’s a really nice event today in our lives, as it’s a book—glorious, monumental in essence, immeasurable in content, as a value relating to the international cultural community.
We are proud, that although those words, certainly, were addressed to Artavazd Pelechian, any of us considers these words addressed to us—Armenians, to each of us separately.”
Then, taciturn, world-famous Mr. Pelechian raises to speak. With his own wish he breaks the silence,
“In my opinion, the movie has existed prior to all arts, however, technically it appeared after all types of art. Let’s start from the fact, that movements of all cave pictures are a movie. There was one individual in 3rd century B.C.—Zeno of Elea, who was very famous for his paradoxical thoughts and formulas. Maybe you all recall one of his formulas—“Achilles and the Tortoise” when tortoise wins.
He has lots of them, but the closest to the cinema is the arrow in flight, where he considers, that the flying arrow is not in a movement, but is standing still. He explains this in a following way: he takes the flying arrow, separates it into segments and in the last, inseparable part people see that the arrow is standing, accordingly, the arrow is not moving. In a one-meter movie-type 52 cadres are available, and if we shoot a flying arrow, we’ll see 52 still cadres of an arrow. Look, what a thinking Zeno of Elea had, who succeeded to stop the movement.
Let me touch upon an article about me printed in French “Liberation.” On the whole, it was a positive article, however, I consider they chose improper title for the article—“Pelechian against time and word.” It was very wrong, as Pelechian is a very small person to be against that monstrous time, I can’t be against. The time is against Pelechian, and not the contrary.
As for the speech and the word, I’m not against, as there are perfect movies with words. Recently I watched a movie about Tonino Guerra by Ruben Gevorgyants, which was made based on words, where words make the image complete and the image makes words complete. A very nice movie with words. Accordingly, I’m not against words. I rarely use words in my movies, as I want to save time for the audience. Time is powerful, however, the movie, by its possibilities, is powerful as well. Everything is afraid of time, but that powerful time, in its turn, is afraid of the powerful movie.”
By Nvard Manvelyan
