Abdullah Kadiri: Lessons from the Genius of Pen
130th anniversary of Abdullah Kadiri, one of the greatest masters of artistic expression of the 20th century
In Uzbekistan, special attention is paid to preserving over the centuries the memory of the most talented Uzbek citizens who spoke about their homeland, made it stronger and stronger. An important event in this context is the 130th anniversary of Abdullah Kadiri, one of the greatest masters of artistic expression of the 20th century. The writer gave us dozens of heroes who demonstrate the life of an ordinary person, who find themselves in life situations worthy of deepest sympathy and who know how to get out of them with dignity.
Each of his characters is a separate memory for each reader, and at the same time, the wisdom of the author himself is put into the mouths of the characters.
Speaking about Kadyri’s work, it seems important to arm ourselves with a methodology for analyzing fine and performing arts, music and cinema, and television. We also remember that much has been invented at the intersection of sciences, in the process of convergence and interaction of different arts. A talented novel and its film and television interpretation, the mutual enrichment of classical poetry and elegant dynamic miniatures, music (including ethnographic) and the system of versification, oral folk art. A search in this direction will be an interesting and important step in penetrating the creative laboratory of the author of epic paintings.
“If I were an artist, I would create a portrait of Rano,” reflects Abdullah Kadiri in the novel “Scorpion from the Altar.” – “I would need the color of a rose.” With warm colors, the master of the pen (as well as the artist who wields the brush) expresses his attitude towards the central character – Rano, a beauty and a very delicate nature. This shade symbolizes love and fidelity. Following the writer, we imagine Early, the colors of delight and tender feelings. Together with Kadyri, we add details to the imaginary portrait. Frame by frame, a silhouette and expressive strokes appear. Ultimately, a close-up image of a girl appears, captivating us with the charm of youth, “with a smile of rosy lips.”
All this is cinematic, reminiscent of the best examples of film drama, of which we have few.
The author presents the dramatic scenes of his novels with stunning expression. Like a palette, the artistic arsenal of a prose writer is enriched at the desk, becoming even more vibrant. The images are expressive: spring mountains, hills, valleys covered with flowers. The sound component is also rich: the chirping of birds, the song of a farmer driving a team of oxen on arable land. Overwhelmed by thoughts, Otabek gradually succumbs to the charm of spring. Only the song of separation coming from afar returned him to his previous state: despair, grief and sadness again took possession of him. Tears rolled down my cheeks.
The writer took into account all the sensory channels of perception by the individual (in the passage analyzed by the reader), describing the sounding, “singing,” tactile and olfactory picture. In the center of it is, at first, a sluggish, relaxed Otabek. And a moment later – admiring the beauty of spring, dreaming, shedding tears. Let us especially emphasize: the writer also takes into account the sense of smell that arises when thoughtfully reading the wonderful text of the book: “The aromas of flowers… could not help but please a person,” “Otabek could not help but inhale the aroma flowing over the steppe, and listen to the singing of the birds.”
The dynamic spring landscape, in the composition of which the image of the main character constantly appears, is also interesting because it is described according to the method of counterpoint: the discrepancy between the minor mood of the character and the optimistic major colorful and blooming environment. Subsequently, this artistic technique, scientifically substantiated by S. Eisenstein, enriched the palette of audiovisual arts.
Abdullah Kadiri did not write the script. But unlike many writers, he treated cinema with respect. Director, actor Yuldash Agzamov and writer Zinnat Fatkhullin – contemporaries of our hero – talked about Nabi Ganiev’s desire to film “Days Past” with Suleiman Khodzhaev in the title role. And this director, screenwriter, actor (by the way, highly revered by Abdullah Kadiri!) was already talented in those years and had a higher cinematic education.
The appearance of a new feature film in those days was a big event. The halls were overflowing with spectators. Newspapers wrote in detail about the films, although the films were silent, black and white. The writer Kadiri also responded. He expressed in writing his attitude towards the first steps of Uzbek cinema.
We did a little research. We thoroughly studied this article, originally published in the newspaper “Kizil Uzbekistan” on April 28, 1927. During the research, we came to the following conclusion: Abdullah aka watched one of the best films of the silent film period, “The Jackals of Rawat,” before it was released on the screens of the country.
According to the State Film Fund, located in the town of Belye Stolby near Moscow, the film was presented to viewers on May 18 of the same year. And Kadiri put pen to paper in March.
By comparing the texts of newspaper materials with the statements of the writer, this time acting as a publicist, we clarified the day the review was written, which, in terms of the coverage of cinematic and near-cinematic events and the style of presentation, complied with the laws of the journalistic genre.
“In yesterday’s issue of Pravda Vostoka, Dzhurabaev misled European readers,” the publicist writes.
We found this material, called by the author “Under Uzbek Life,” and got acquainted with it. The “yesterday’s issue” mentioned by Abdullah Kadiri is dated March 28, 1927. This means that the article about “Ravat’s Jackals” was written on March 29th. And on these spring days, the Kadyri family annually moved to the summer garden, located not far from the Samarkand Darvoza makhalla center.
Thus, the article was written and submitted to the editors during the period of enthusiastic work on the novel “Scorpio from the Altar,” which was published a little later – in 1929. The document testifies to how concerned the writer was with topical issues of the development of cinematography. He compares shots and episodes of the film with phenomena of everyday life, reflects on the behavior of the hero-actors in extreme conditions, their state of mind. A comparative analysis of literary and screen characters seems interesting. Kadiri does not make allowances for the youth and inexperience of Sharq Yulduzi (that was the name of the film studio located in the Shaykhantakhur architectural complex).
We dwelled in detail on A. Kadiri’s short work also because the problems raised by the writer in the newspaper material have not lost their relevance today. The education of creative personnel (primarily screenwriters, actors and performers, wrote Kadiri), the search for national forms of screen expression, a professional, demanding, but careful attitude towards filmmakers and their works – these most important issues are now being put at the forefront. Abdullah Kadiri seemed to foresee the growing problem in the future.
It is customary not to delay the break or intermission between classes or performances. Acts are required. Acts of understanding the depths of a writer’s work and the surrounding media environment.
So far, the change after the lesson given by the writer is measured in decades. A lot has been created during this time. But again and again we will turn to his prose and journalism, memoirs. You can and should take lessons in professionalism (in all areas, especially in the creative field), courage, perseverance, and love of life, because these values do not lose relevance today.
