"Repentance" is part of a trilogy produced on the long term, together with Vedreba (1967) and Natvris khe (1976). Nonetheless, it can be watched as stand-alone. Its originality, outstanding aesthetics and compelling themes constitute a landmark in former USSR cinema, as well as worldwide. It is a fascinating metaphor on power, tyranny and ideology.
STRUCTURE
The structure of the movie is as of "Russian puppets" (this comparison is of pure form, since it is Georgian): stories are imbricated in one another. There are six sequences, organised on four different levels.
This "Russian puppets" structure generates a sensation of confinement, on line with the environment: the story is limited to a town without any news from outside; time seems suspended although the action takes place over decades; we are lost in a indefinite period between modernity and Middle Ages (the horse carriage, the medieval armours). The confinement materialises an allegory: the focus is on symbols, not proportions nor accuracy.
ABSURD REALITY...
Another trademark of the movie is its unique mix of reality and fantasy.
Conversely, many supposedly "authentic" scenes feel unreal.
The confusion between reality and fantasy even casts doubt on the movie's structure and credibility. Did Ketevan imagine all this, or only partly? What is true or not? Metaphorically, this incertitude illustrates the absurdity of tyranny: everything is irrational.
... ABSURD LOGIC...
To carry on, despotism will use reasons that look logical but are arbitrary:
On top of power, "Repentance" is a reflection about ideology. Varlam is cultured: he knows about painting and religious art, he sings, recites Shakespeare, quotes Confucius. So is his son Abel, who plays the piano. Yet knowledge is nothing, and even dangerous, if it is used for wrong reasons. Culture turns against itself: Sandro's paintings are confiscated; the artist Sandro is deported; the temple is destroyed; Varlam promotes precisely what Shakespeare's sonnet criticised. To save the world, we do not need brains but a heart.
... VERSUS TRUE EMOTIONS
A heart, granted, but how? Crushed by oppression, people are powerless. Ketevan, whose family was destroyed by Varlam, now feeds a ridiculous little man who supports the dictator; she can only imagine what she could do. Varlam's grandson commits suicide. Opponents collaborate and/or are deported. People fantasise to escape reality.
Nevertheless, for a heart and to escape oppression, one can turn to religion. As a reminder, religion was heavily repressed in USSR. Allusions to this repression include: the man at the beginning eats cakes shaped as churches; Varlam in Abel's dream eats a fish (reference to Christ: ICTUS); the temple crumbles and is finally destroyed. Yet as a sign of hope, the movie closes on the wise words of an old lady: "What good is a road if it doesn't lead to a temple?" Spirituality will carry on regardless.
In the end, what is the "Repentance" of the title? Merab's who realises how evil his grandfather was? Abel's who throws away Varlam's body? Ketevan's who regrets being unable to perform her imagined revenge? Others' lack of repentance? As the movie, the title encloses different levels of interpretation and remains partly mysterious.
STRUCTURE
The structure of the movie is as of "Russian puppets" (this comparison is of pure form, since it is Georgian): stories are imbricated in one another. There are six sequences, organised on four different levels.
- 1. PRESENT. A woman, Ketevan, and a man learn the death of Varlam.
- 2. IMAGINATION. (We first think it is a continuation of present action. The true nature of this sequence will only be revealed at the end.) Ketevan imagines she unearths Varlam's body and faces trial.
- 3. PAST. Ketevan during the trial describes how her childhood and family were destroyed by Varlam. It is hence an "imagined flashback" since it is included in part 2.
- 4. FANTASY. Four scenes are included in parts 3 and 5: Nino dreams (she and Sandro try to escape Varlam); Abel daydreams (he talks to a devilish character who is actually Varlam); Merab fantasises twice (he sees Varlam is crazy, Guliko dances near Varlam's body).
- 5. IMAGINATION (same level as 2). We come back to the trial.
- 6. PRESENT (same level as 1). We understand parts 2 to 5 were imagined by Ketevan.
This "Russian puppets" structure generates a sensation of confinement, on line with the environment: the story is limited to a town without any news from outside; time seems suspended although the action takes place over decades; we are lost in a indefinite period between modernity and Middle Ages (the horse carriage, the medieval armours). The confinement materialises an allegory: the focus is on symbols, not proportions nor accuracy.
ABSURD REALITY...
Another trademark of the movie is its unique mix of reality and fantasy.
- Abel daydreams he sees Varlam eating a fish: when he comes to, his hands actually grasp fish bones.
- When Merab imagines Varlam is crazy, the scene seems real, and is probably based on actual facts: Varlam was somewhat lunatic, a feature that might have worsened with age.
Conversely, many supposedly "authentic" scenes feel unreal.
- When Sandro comes back, he meets a man in suit and a blindfolded woman (Justice) playing piano outside.
- When Nino and her young daughter Ketevan look for Sandro's name on logs, the atmosphere is dreamlike or, rather, nightmarish: outstanding images, pace and music make this scene one of the most compelling of the movie, and of cinema in general.
The confusion between reality and fantasy even casts doubt on the movie's structure and credibility. Did Ketevan imagine all this, or only partly? What is true or not? Metaphorically, this incertitude illustrates the absurdity of tyranny: everything is irrational.
- Power is unpredictable: Varlam is grotesque but omnipotent; he suddenly changes from sympathy to repression; stupid accomplices become powerful.
- Nobody is safe: rules are arbitrary; people can be arrested or released randomly; a centuries-old temple is destroyed for no reason; opponents confess stupid acts (digging a tunnel between London and Bombay) and denounce everybody to weaken the system.
- Power transits from one generation to another unchanged (the same actor plays Varlam and his son Abel) until it destroys itself: Merab, unable to embrace the system or change it, commits suicide; Abel eventually unearths Varlam and throws him to the crows, exactly as Ketevan said she wanted to.
... ABSURD LOGIC...
To carry on, despotism will use reasons that look logical but are arbitrary:
- Scientific "progress" overriding everything else: the experiments endangering the temple.
- A minority presented as "the people": the letter denouncing Sandro.
- External threats repeated a few times.
- Necessity of hardships that will bring better tomorrows, on the glorious music of "Ode to Joy".
- Senseless quotes celebrated as Gospel: "We will catch the black cat in the dark room, even if there is no cat".
On top of power, "Repentance" is a reflection about ideology. Varlam is cultured: he knows about painting and religious art, he sings, recites Shakespeare, quotes Confucius. So is his son Abel, who plays the piano. Yet knowledge is nothing, and even dangerous, if it is used for wrong reasons. Culture turns against itself: Sandro's paintings are confiscated; the artist Sandro is deported; the temple is destroyed; Varlam promotes precisely what Shakespeare's sonnet criticised. To save the world, we do not need brains but a heart.
... VERSUS TRUE EMOTIONS
A heart, granted, but how? Crushed by oppression, people are powerless. Ketevan, whose family was destroyed by Varlam, now feeds a ridiculous little man who supports the dictator; she can only imagine what she could do. Varlam's grandson commits suicide. Opponents collaborate and/or are deported. People fantasise to escape reality.
Nevertheless, for a heart and to escape oppression, one can turn to religion. As a reminder, religion was heavily repressed in USSR. Allusions to this repression include: the man at the beginning eats cakes shaped as churches; Varlam in Abel's dream eats a fish (reference to Christ: ICTUS); the temple crumbles and is finally destroyed. Yet as a sign of hope, the movie closes on the wise words of an old lady: "What good is a road if it doesn't lead to a temple?" Spirituality will carry on regardless.
In the end, what is the "Repentance" of the title? Merab's who realises how evil his grandfather was? Abel's who throws away Varlam's body? Ketevan's who regrets being unable to perform her imagined revenge? Others' lack of repentance? As the movie, the title encloses different levels of interpretation and remains partly mysterious.