Vedreba (1967) is a quite lively image and example of the concrete joy that movies can give. We are sometimes bound to admit our incapacity of giving examples. But something like Vedreba (1967) provides a fine sample of what gives the movies buff his joy.
Vedreba (1967) is also one of the countless (today) secret beauties.
And notice the immense verbal, sonorous beauty of the verses, the verbal density of the verses. It is delightful. As such, the movie is made up of a few things. Their harmony is secret and manifest. A work of art, more enduring than the bronze, AERE PERENNIUS. Innumerable layers of skill and thought and understanding are at its base.
Tengiz Abuladze has been improperly and arbitrarily compared to the much greater Tarkovsky;I see no resemblance whatsoever. The visionary nature of Tengiz Abuladze's movies is a peculiar, particular one. We will try to define it someday.
Vedreba (1967) is also one of the countless (today) secret beauties.
And notice the immense verbal, sonorous beauty of the verses, the verbal density of the verses. It is delightful. As such, the movie is made up of a few things. Their harmony is secret and manifest. A work of art, more enduring than the bronze, AERE PERENNIUS. Innumerable layers of skill and thought and understanding are at its base.
Tengiz Abuladze has been improperly and arbitrarily compared to the much greater Tarkovsky;I see no resemblance whatsoever. The visionary nature of Tengiz Abuladze's movies is a peculiar, particular one. We will try to define it someday.