Ashik Kerib
Ashik Kerib
1988
Drama
1h 13m
Wandering minstrel Ashik Kerib falls in love with a rich merchant's daughter, but is spurned by her father and forced to roam the world for a thousand and one nights - but not before he's got the daughter to promise not to marry till his return. It's told in typical Paradjanov style, in a series of visually ravishing 'tableaux vivants' overlaid with Turkish and Azerbaijani folksongs. (imdb)
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AKA:
Ashug-Karibi
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Ashik Kerib
1988
Drama
1h 13m
Your probable score
Avg Percentile 58.9% from 142 total ratings
Ratings & Reviews
(142)
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Rated 22 Feb 2014
43
8th
I havent understand anything
I love some mystyc figures but however its strange.
Rated 22 Feb 2014
Rated 26 Aug 2017
75
84th
Parajanov has no interest in coming to your world: you have to come to his. Arrogant? Perhaps, but there is really no other way of engaging with his work. A.K features a relatively 'linear' narrative, told in the usual episodic fashion, by his standards, but the constant digressions will infuriate viewers who refuse to give themselves over to the experience. It's a typically eccentric and colourful film of elegant tableux, and it's an enchanting fairy tale that doubles as an exotic musical.
Rated 26 Aug 2017
Rated 05 Sep 2019
45
37th
Filmin müziği değil müziğin filmi var malesef. Sinema sadece teknik değil aynı zamanda bir anlatı sanatıdır. Ayrıca yönetmenin izlediğim üçüncü filmi olarak söyleyebilirim ki kendini çok fazla tekrar ediyor.
Rated 05 Sep 2019
Rated 29 Dec 2010
85
95th
In this, a kind of Azeri version of Peer Gynt, the tableaux are a little more vivants than in Color of Pomegranates, but it's essentially the same distinctive Parajanov style. The visuals are beautiful and the music even more so. The music alone, saz instrumentals and exotic Turkic singing, makes this an awesome experience.
Rated 29 Dec 2010
Rated 24 Feb 2013
85
80th
The film functions very well separate from its plot as a rich (especially as far as the colours are concerned) and, regardless of whether you find it vacuous or full of great meaning (and it is probably the former to be perfectly frank), entertaining tapestry of Azerbaijanian clothes, customs and art - music, dance and artworks all appearing throughout.
Rated 24 Feb 2013
Rated 26 May 2014
88
88th
Impressive and unique. Almost a musical given the score in this film is almost entirely constant throughout the whole film. Like the one in SoOFA, the music is of a stunningly consummate level, really one of the best OSTs I've ever heard. The visuals are also amazing, with inspired mise en scene and perfect cinematography, turning this completely stripped-back basic story into something of a strange fairy-tale for adults.
Rated 26 May 2014
Rated 01 May 2009
80
64th
5 Nisan 09, 13:30. 28.ist. film fest. atlas sinemasi & sinemada ilginc bir deneyim oldu. azeri ve turk toplumuna ozgu, tamamen bizim toplumumuza ait ve bununla da gurur duymayi bilmis bir film.
Rated 01 May 2009
Rated 28 Jan 2015
80
95th
weird in a beautiful way -like Pasolini in Azerbaijan, with a more symbolic tilt. Azeri dubbing and music is mesmerising.
Rated 28 Jan 2015
Rated 22 Mar 2017
78
63rd
Gets close to the beauty and aesthetics of Color of the Pomegranates, but the problem, again, is in understanding the narrative. This seems progress more clearly but doesn't have as much poetic effect as the film about Sayat Nova.
Rated 22 Mar 2017
Rated 18 Aug 2008
64
23rd
Paradjanov once again provides stunning visuals rich with symbolism and tableaus unlike any other in cinema. And the music is fantastic. On an aesthetic level, it's dynamite. But alas, there's more to it than that. The story starts out fine, but it loses traction in the middle and seems to go nowhere. Also, the actors employ a style of highly exagerrated miming with voice-over. In a story like this, some degree of "over-acting" is expected and even appropriate, but this was frequently annoying.
Rated 18 Aug 2008
Rated 20 Feb 2016
72
51st
Parajonov sure tried to do something different with the story structure of this movie and mostly it works. At his best Parajonov shots are like beautiful paintings. But for that kind of shots to be perfect everything has to be perfectly staged and choreographed. Here sometimes it felt like he didn't have enough time to stage everything perfectly or to reshot it till it was perfect. Things like dancers that are not complete in sync or actors that act like schoolgirls in there high school play.
Rated 20 Feb 2016
Rated 29 Aug 2018
29
28th
Pasolini in Azerbaijan, and not in a good way
Rated 29 Aug 2018
Rated 12 Feb 2019
74
71st
Parajanov plays with cinema and creates his own version of it. I like the fact that the dialogues are superimposed on non-speaking characters: why should sound and image coincide after all? I like the drapes that are used for cuts: why not? It's cinema, anything's allowed to narrate the story. The drawback is that it's all fairly abstruse. But it's still visually stunning.
Rated 12 Feb 2019
Rated 02 Aug 2019
6
65th
Fun to watch. It had a nice, weird, silent-movie-like effect on me, which was strengthened by the beautiful folk music from the region.
Rated 02 Aug 2019
Rated 09 Jul 2023
72
81st
Colours, textures, fabrics, artifacts, music, mysteries. It is never clear how much derives from folk tales, from Lermontov, from Sufism or from the the filmmakers. Father of the bride: is the father the camera and the bride the film, or is the father Tarkovsky and the bride Parajanov? Despite the latter’s persecution by the Soviets, paradoxically the beginning of the end of the USSR a year later seems to have meant the loss of such approaches to conjoining cinema with cultures that preceded it.
Rated 09 Jul 2023
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Ashug-Karibi
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