Chinghiz Aitmatov

Chinghiz Aitmatov

Screenwriter. Hero of Socialist Labor (1978). People's Writer of the Kyrgyz SSR (1968). Laureate of the Lenin Prize (1963) and State Prizes of the USSR (1968, 1977). Laureate of the State Prize of the Kyrgyz SSR named after Toktogul (1976). Academician of the Academy of Sciences of the Kyrgyz SSR (1974). Honorary Corresponding Member of the Academy of Arts of the GDR (1978). Member of the Communist Party of the Soviet Union since 1959. Born on December 12, 1928, in the village of Sheker, Kirov District, Kyrgyz SSR, in a family of civil servants. He began his labor activity after the 6th grade, first as the secretary of the Sheker Village Council, then as a tax agent for the district financial office, and as an accountant for a tractor brigade. In 1946, after finishing eight grades at Pokrovskaya Secondary School, he entered the 2nd year of the Dzhambul Veterinary Technical School. From 1948, he was a student at the Zootechnical Faculty of the Kyrgyz Agricultural Institute. From May 1953 to July 1956, he worked as a senior zootechnician at the experimental farm of the Kyrgyz Research Institute of Animal Husbandry. From 1956 to 1958, he was a student at the Higher Two-Year Literary Courses at the A. M. Gorky Literary Institute in Moscow. Upon returning to Frunze, he worked as the chief editor of the magazine "Literary Kyrgyzstan." In 1960-1965, he was a correspondent for the newspaper "Pravda" in Kyrgyzstan. Since September 1961, he has been the chairman of the Board of the Union of Cinematographers of Kyrgyzstan.

Ch. Aitmatov's involvement in cinema coincided with the beginning of Kyrgyz feature filmmaking. In the film "The Pass" (1961, directed by A. Sakharov), based on his story "My Little Poplar in a Red Scarf," he first tried his hand as a screenwriter (Diploma for Best Screenplay at the film competition of cinematographers of Central Asia and Kazakhstan in Tashkent in 1962).

The original interpretation by L. Shepitko of the story "The Camel's Eye" and the high cinematographic talent of the young director ensured the success of the film "Heat" (1963). It found an equivalent for the poetic, lyrically excited intonation of the writer. In "Heat," one of Ch. Aitmatov's most important themes was clearly articulated — the upbringing of a high socialist morality in a person, loyalty to the socialist homeland and its ideals.

The screenplay for the film "The First Teacher" (1965, co-authored with B. Dobrodeev, with the participation of A. Mikhalkov-Konchalovsky) marked a further stage in the writer's mastery of the specifics of modern screenwriting. Its main merit is the high revolutionary pathos of the struggle of Dyushen.

In "The First Teacher," different but united in the honesty and sincerity of their positions creative personalities of the director and the writer harmoniously combined. The film, as acknowledged by Ch. Aitmatov, had a serious influence on his further literary creativity.

The achievements of "Heat" and "The First Teacher" helped the famous playwright successfully cope with the screenplay version of the story "Mother's Field" (1967, co-authored with B. Dobrodeev and I. Talankin). Following the writer, director G. Bazarov achieved heartfelt intonation in the story of the great feat of a simple woman-Mother. The decisive role in the directorial success was played by the talent of Baken Kydykeeva — the performer of the role of Tolgonai.

Since the late 1960s, Ch. Aitmatov's work has been at the center of attention of filmmakers. Director of the "Mosfilm" studio I. Poplavskaya tried to reveal the content of the story "Jamila." Her eponymous film (1969) based on the writer's screenplay told how, under the influence of the beauty of the world and the beauty of human relationships, an artist awakens in a child.

Noteworthy is the meeting of one of the creators of the remarkable film "The Cranes Are Flying," S. Urusevsky, with Ch. Aitmatov-screenwriter on the film "The Run of the Trotter" (1969). The talented cameraman was captivated by the picturesque and poetic aspects of the story "Farewell, Gulsary," creatively conveying them through color and plasticity.

"The Run of the Trotter" is an interesting experiment in translating the lyrical-narrative style of Ch. Aitmatov into the language of pictorial cinema.

The second birth of "My Little Poplar in a Red Scarf" occurred in the film "I Am Tian Shan" (1972) by I. Poplavskaya, based on the screenplay by Ch. Aitmatov. The best achievements of Kyrgyz documentarians had a significant influence on its visual style. The film gained scale.

In it, the boundaries of the lyrical-dramatic story of Asel, Baitemir, and Ilyas were expanded.

The experience of the best adaptations of Ch. Aitmatov's works has shown that success is achieved only when the film's director considers the inseparable connection in the stylistics of the writer and the screenwriter of epic and lyrical beginnings, artistic prose and civic journalism, folk art and the poetic-philosophical worldview of the modern artist.

In Ch. Aitmatov's work of the 1970s, cinema and literature are inseparable; they became his essence. The talented films close to literary sources from the "Kyrgyzfilm" studio, "Echo of Love" (1974) by B. Shamshiev, "Red Apple" (1975) by T. Okeev, "White Steamboat" (1975), "Early Cranes" (1979) by B. Shamshiev became examples of further deep cinematic exploration and mastery of the aesthetic riches of the great master of Soviet multinational culture.

Awards - two Orders of the Red Banner of Labor (1962, 1967). Two Orders of Lenin (1971, 1978).

Member of the Union of Cinematographers of the USSR since 1962.

Member of the Union of Writers of the USSR since 1956.

BOOKS, ARTICLES, REVIEWS
The Modern Process of Cinematic Knowledge (in Kyrgyz) "Kyrgyzstan Madeniyati," 1976, April 22.
The Beauty of Truth.— "Komsomolets of Kyrgyzstan." 1962, March 30.
Let’s Unite Our Forces.— "Soviet Screen." 1963, No. 15, p. 1.
The Screen of the Revolutionary Era.— Book: Native Russia, You Are Our Morning Age. F., Kyrgyzgosizdat, 1964, pp. 113-116.
Vitality and Popularity.— "Soviet Kyrgyzstan," 1964, September 17.
Music That Reforged Swords into Plows.— "Soviet Culture," 1964, October 3.
The Frontier of Art and Factography.— "Pravda." 1965, July 14.
A Word About Our Cinema,— "Komsomolets of Kyrgyzstan," 1965, August 27.
To Be at the Forefront.— "Komsomolets of Kyrgyzstan," 1965, September 19.
In the Stream of Life.— "Soviet Kyrgyzstan," 1965, November 20.
A Sense of High Responsibility.— "Soviet Culture," 1965, November 26.
Together with the Viewer.— "Art of Cinema," 1965, No. 11, p. 2.
The Multiform Screen.— "Pravda," 1967, January 15.
National — Socialist — International.— "Soviet Screen," 1967, No. 2, pp. 1, 4-5.
Who is the "Positive Hero"? — "Komsomolets of Kyrgyzstan," 1968, April 11.
The Image of Our Time.— "Culture and Life," 1968, No. 3, p. 3.
Prose is Read from the Screen.— "Soviet Screen." 1968, No. 16, p. 3.
National and International.— "Questions of Cinematic Art," vol. 11. M., "Nauka," 1968, pp. 35-58.
The Cinematography of Kyrgyzstan: Great Expectations.— "Art of Cinema," 1970, No. 11, pp. 59-63. Looking into Tomorrow.— "Literary Gazette," 1971, May 5.
Time to Think, Time to Create.— "Komsomolskaya Pravda," 1972, October 19.
Our International Duty.— "Art of Cinema," 1972, No. 5, pp. 18-25.
In the Name of Our Future.— "Art of Cinema," 1973, No. 11, pp. 1-4.
Orbits of Interaction.— "Literary Review," 1973, No. 9, pp. 7-13.
Field of High Voltage.— "Soviet Screen," 1975, No. 6, p. 4.
How to Be a Human Being...— "Art of Cinema," 1975, No. 6, pp. 64-77.
Readiness to Dare.— "Soviet Culture," 1976, January 9.
Counter Movement.— Book: Screen 74-75. M., "Art," 1976, pp. 59-63.
The Spirit of Tashkent.— "Soviet Screen," 1976, No. 10, p. 1. Creating for the People.— "Soviet Kyrgyzstan," 1976, April 18.
Meetings, Films, Festivals.— "Evening Frunze," 1977, September 2.
Cinema of Our Days.— "Literary Gazette," 1977, November 16.
Understanding the National Character.— "Soviet Screen," 1978, No. 22, p. 3.
In a Unified Creative Line.— "Soviet Screen," 1979, No. 15, p. 3.

WORKS ON THE CREATIVITY OF THE SCREENWRITER

Anastasiev A. In the Language of Another Art.— "Literary Gazette," 1969, October 29.
Artyukhov O. A Picture of Great Fate.— "Evening Frunze," 1975, December 23.
Ashimov K. "White Steamboat" on a Great Voyage.— "Soviet Kyrgyzstan," 1977, November 20.
Baijiev M. "White Steamboat" and "Red Apple."— "Literary Gazette," 1974, September 4.
Belova L. Time of Action — Our Days.— "Soviet Cinema," 1963, August 10.
Belokon G. "White Steamboat" of Good.— "Komsomolets of Kyrgyzstan," 1978, January 17.
Volkomorov V. The Truth Will Last Forever.— "Evening Frunze," 1976, March 4.
Gurevich L. The Poetry of Everyday Life.— "Komsomolskaya Pravda," 1963, August 31.
Dautova L. The Bright Wins.— "Soviet Screen," 1963, No. 15, p. 7.
Ermakova G. At the Frontiers.— "Star," 1976, No. 11, pp. 210-212.
Zhmaev A. Hello, "White Steamboat."— "Lenin's Path," 1976, October 23.
Zelenko N. Companion of Fire.— "Art of Cinema," 1933, No. 12, p. 57.
Zorky A. From "Farewell, Gulsary."— "Art of Cinema." 1969, No. 7, pp. 90-99.
Tsvetova V. The Poetry of Humanity.— "Izvestia," 1977, March 25.
Igorev Ch. Jamila.— "Change," 1969, No. 5, p. 26.
Kozhukova G. Hello, Gulsary! — "Soviet Screen," 1969, No. 23, p. 21.
Kochnev D. Two Stories — Two Films.— "Soviet Culture," 1963, December 10.
Krechetova R. On the Way to the Screen.— "Soviet Cinema," 1969, October 4.
Kuznetsov E., Ponomarev A. Peaks of Mountains and Hearts.— "Lenin's Path," 1973, March 17.
Levchenko V. The Harsh Truth of Chinghiz Aitmatov.— "Evening Frunze," 1976, December 30.
Lipkoye A. So That the Grass Would Laugh.— "Soviet Screen," 1968, No. 16, p. 6.
Maltsev M. Jamila,— "Screen News," 1969, No. 39.
Maltsev M. The Run of the Trotter.— "Screen News," 1969, No. 47.
Medvedev A. Humanity on the Offensive. — "Art of Cinema," 1977, No. 5, pp. 36-54.
Pshik B. In the Chon-Dzhargylchak Gorge.— "Soviet Screen," 1975, No. 5, pp. 10-11.
Okeev T. Well-Deserved Award.— "Soviet Kyrgyzstan," 1977, November 20.
Ogurbayeva M. "White Steamboat" in Prague.— "Evening Frunze," 1976, November 27.
Poplavskaya I. In Search of an Ideal.— "Komsomolets of Kyrgyzstan," 1970, July 14.
Pospelov R. "White Steamboat" on the Way.— "Literary Gazette," 1976, May 19.
Rudoe M. The Pain of My Memory.— "Screen," 1974, No. 10, pp. 2-3.
Runin B. The Hero Suffers a Crash.— "Soviet Screen," 1973, No. 8, pp. 3-4.
Seliverstov M. What is Happening Here? — "Soviet Kyrgyzstan," 1963, August 10.
Simonov K. The Earthly Truth of Romance.— "Pravda," 1965, December 13.
Smelkov Yu. Meeting with Gulsary.— "Literary Gazette," 1969, June 11.
Sokolov V. After the Fairy Tale.— "Soviet Screen," 1976, No. 10, p. 5.
Troshin A. "Art is Like a Wild Horse."— Collection: "Screen 1969-1970." M., "Art," 1970, pp. 56-58.
Khloplyankina T. Courageous Humanism.— "Soviet Culture," 1976, July 2.
Cheremushkina A. Filming Bolot Shamshiev.— "Evening Frunze," 1974, August 15.
Cheremushkina A. "White Steamboat."— "Screen," 1974, No. 10, p. 2.
Shcherbakov K. The Birth of a Miracle.— "Soviet Screen," 1909, No. 19, p. 6.

FOREIGN CINEMA CRITICISM

Aitmatov Ch. Life Next to Us... (in Bulgarian).— "Film News," 1972, No. 12.
Aitmatov Ch. "I Love Cinema — I Fight for Humanism" (in German).— "Film Spiegel," 1976, No. 11.
"White Steamboat" (in Czech).— Store "What Interests You," 1977, No. 4.
Bonoski F. A Kyrgyz Tells About True Love (in English).— "Daily World," 1972, July 11.
Verzhevsky V. The Mystery of Chinghiz Aitmatov (in Polish).— "Cinema," 1971, As 11.
Viner R. Two Films (in German).— "Neues Leben," 1969, No. 48.
Gazda Ya. Cinema of Facts and Cinema of Fiction (in Polish).— "Ekran," 1966, No. 39.
Darian A. "White Steamboat" (in Romanian).— "Cinema," 1977, No. 2.
Dimova D. "White Steamboat" (in Bulgarian).— "Film News," 1976, A 12.
Kopaneva G. Man and Horse (in Czech).— "Cinema," 1970, No. 3.
Mikhaylik P. Good and Beauty Through the Prism of the Child's World (in Slovak).— "Film and Theater," 1977, No. 8.
Naydenova V. Old Roots of New Cinema (in Bulgarian).— "Cinema Art," 1976, No. 1.
Prashek Ts. "White Steamboat" (in Polish).— "Przyjaźń," 1977, No. 15.
Prashek Ts. A Kyrgyz with a Camera (in Polish).— "Przyjaźń," 1979, No. 13.
Sloen P. Memories of "Kes" from Soviet Kyrgyzstan (in English).— "Morning Star," 1972, August 24.
Shenborn E. Under the Sky of Kyrgyzstan (in Polish).— "Film," 1977, No. 19.
Shenhardt G. A Dream Without End (in German).— "Für Dich," 1977, No. 16.
Schmidt-Renni L. "Cinematic Ballad of Fearless Love" (in German).— "National Zeitung," 19/0, September 9.
Yankova S. Chinghiz Aitmatov: "I Learned Something from Cinema" (in Bulgarian).— "Film News," 1974, No. 11.