The world offers itself an imagination, calling you in the clear sunshine touch gently, clasping and moving across the landscapes over the prairies and sleeve them under a white quilt and so is Tulpan. The movie stretches you into the gorgeous, unimaginable, unhampered milieu, undisturbed, and forlorn of our existence, untouched and yet pinned into the life’s own raft.
Sergey Dvortsevoy in his poetic visuals sweep the deepest trust of human integrity bedazzle the southern inch of Kazakhstan. The sketch of an epic terrain and the land cease the beauty alone to reign. The world where the cloud tear down into the windy, lonely smile and nothing seem to be in the way and the eternal horizon of progress. The pleasure in the pathless woods, there’s a society, where none intrudes, and music in its subtle chord, not the men-the-less, but the nature
Tulpan mean tulip. The film was made in 2008. A stupendous Kazakh drama directed by Sergey Dvortsevoy, which is first feature. This was Kazakhstan’s 2009 Oscar entry for the Foreign language category. It won the award for Best Film at the 2nd Asia Pacific Screen Awards. The movie also won Prix Un Certain Regard at the 2008 Cannes Film Festival, which is the run at the Salle Debussy, parallel to the competition for the Palme d’Or. Besides winning Best Feature Film, at the 2008 Montreal Festival of New Cinema and the best film at IFFI in India.
This film has a rare curiosity. Asa, a recently discharged Russian Naval sailor, a happy-go-man in his free willing hamlet, living in the remote Kazakhstan’s montane grasslands along with his sister Samal. The inexplicable connectedness and the joy glaring with her three children and an older husband Ondas, a tough patriarchal herdsman make a perfect family. Asa dreams of becoming like his brother-in-law, with his own ranch for the future.
In an extremely thin situation of life’s imbalance. Ondas cattle gives birth to the dead lambs, as his exploit deprive of debts and in his rarely erupt of temper, reflect immense with Asa’s innocence. Asa hopes of marrying the daughter Tulpan of his neighbours family. She’s the closest young women, he could dream of in the immediate range of hundred miles. Tulpan’s parents are not eager to get her wed to an out-of-job man. In a fine drawn situation, Tulpan herself appears to have little interest in Asa.
Asa over his same ground confesses in his utter despair of fallen in love with her. Tulpan rejects because of his ears being too big. His ability to move his stillness & blind thoughts, his deep desire picture of nonchalance, dune the delightful for words and his mercury eyes, quite shine though seemed pale against the austerity of life and his world is never quite a whole again.
The story plot follows Asa through the strides unwinding the lines, with the course of unique rediscovery countless as love, peeking through the spectacle. Deserving of all that he wants and heartbeat match- Dvortsevoy’s very personal romantic views, poignant and graceful thread its way, between the misty air and wallow of the earth, through the film’s rough and vivid landscape reminding you of a long last tale like a piece of forgotten song drifting across nowhere, most of all like golden eternities of past childhood or past manhood.
Of course, a milestone cinema looks inside the kaleidoscope of titillating sights and colours, tease and seduce your eyes and mind as you see it for real. All I understand a very different story through the layers of our own existence. The spell bound locations reveal themselves a perfect, ordinary event that can sometimes lead into miracle. This cinematic experience is unimaginable by its reason for being nothing more of kindling enthusiasm in its simplicity of untranslatable, inexhaustible influence dissolved of ever let wilderness into something complete.
The movie in cinematic ewe and lamb inhabit deeper meanings are both crucial to the story and a toupee. Especially, the co-writer, Gennady Ostrovsky could achieve is the fervour and the cherished memory sustained by its characters. The plainness and care for its story and also for its depiction of a world that is seemingly lost in time and space, increasingly fading away more and more into the past.
The big bulkiness from the cinematographer Jola Dylewska, belies texture, nuance, and grace. It’s a sense of foreboding and meaningful too, few and far between, play the sparse sensitivity- It’s all in how the combination with Sergey Dvortsevoy executed it. Each shot in one uninterrupted take. It was all pure observation, and yet each scene fell into a perfectly timed, often funny, and seemingly mise en scène, recognize eventually the radiance of the breathing space. The lenses testify, exploits the nature in abundance. By and large exploring the horizon, capturing through the fine line between golden hour and blue hour in the rare circumstances. Just by keeping the moment forever until to stay the sundown. And, in with those checkboxes of isolation, something no one to hear about to a full shot cheering is the class act.
The film was well-received internationally and a great success. The naivety of Sergei Dvortsevoy is visible through his work of art, sprinkled with moments, within a fragile circle, easily and often breached by the shepherds in their awful gaps. Enchanting and beautifully formed and in perfect harmony. That’s cinema. Tulpan is the one of those autumnal sunshine at the end of the day, you should smell the scent that is a perfect anodyne to the restless spirit