Kydyraliev Kadyrzhan
Cinematographer. Honored Artist of the Kyrgyz SSR (1969). Laureate of the State Prize named after Toktogul (1972) and the Lenin Komsomol Prize of Kyrgyzstan (1967). Born on April 1, 1936, in the Telman Collective Farm in the Kalinin District of the Kyrgyz SSR. After graduating from School No. 5 named after A. S. Pushkin in Frunze, he began working in 1954 at the "Kyrgyzfilm" studio as a camera assistant. From 1956 to 1961, he studied at the cinematography faculty of VGIK.
His diploma film "River of Mountains" (1960) demonstrated not only Kydyraliev's professional competence but also a clear understanding and precise execution of the artistic tasks set before him: to convey the beauty and poetry of the Kyrgyz land, as perceived by a contemporary person. His desire to reflect the surrounding world through poetic means strengthened over the years, tested in newsreels, and brought creative successes in documentary films such as "The Birth of a Song" (1961), "The Great Epic" (1962), "Your Friends" (1962), and "These Are Horses" (1965).
In the conditions of a small studio with very limited production capabilities, Kydyraliev divides his time and efforts between documentary and feature films. In the film "White Mountains" ("Difficult Crossing" in the Kyrgyz version, 1964, directed by M. Ubukeev), Kydyraliev managed, thanks to his ability to shoot with documentary accuracy, to create an atmosphere of real life on screen, bringing the viewer closer to a long-past time.
A sense of proportion never abandons the operator. In T. Okeeva's film "The Sky of Our Childhood," Kydyraliev's camera (honorary diploma for best cinematography at the film festival of cinematographers of Central Asia and Kazakhstan in Dushanbe in 1967) is mobile and "free." The operator particularly succeeded in landscape panoramas with herds of horses—a poetic image first found in the essay "These Are Horses."
Subtle lyricism and thoughtful observation are the main traits of the operator's talent, enriching the artistic solution of the films "Jamilya" (1969) and "I Am Tian Shan" (1972) by I. Poplavskaya.
In the film "Bow to the Fire" ("Urkuya" in the Kyrgyz version, 1972) by T. Okeeva, several scenes were shot by the operator with great expressiveness. The stylistics of documentary accuracy intertwines closely with poetic symbolism. Thus, making "sunshine" a plastic leitmotif for Salieva, the operator creates a "radiant" portrait of the heroine on the full screen in the film's finale, embodying the idea of goodness, harmony, and the eternally beautiful feminine principle.
Kydyraliev's directorial works—"Kyyal" (1967, co-directed with Sh. Apylov, 1st degree diploma "For the best popular science film" at the VII festival of cinematographers of Central Asia and Kazakhstan in Frunze in 1968, Honorary diploma at the International Festival in Florence in 1968, Honorary certificate for directorial debut at the II All-Union Film Festival in Leningrad), "Beshik" (1969), "Responsibility" (1975)—confirmed Kydyraliev's poetic worldview and his desire to philosophically comprehend what he sees everywhere and always.
The ability to accurately find the plastic intonation corresponding to the director's idea is characteristic of K. Kydyraliev's cinematographic style in the films "Fierce," "Ulan" (1974, 1977, directed by T. Okeeva), and "Tale of Art" (1975, directed by G. Bazarov).
Awards—Certificate of the Supreme Soviet of the Kyrgyz SSR (1962). Badge "Excellence in Cinematography of the USSR" (1966). Order of the "Badge of Honor" (1967). Honorary certificate from the Presidium of the Supreme Soviet of the Kyrgyz SSR (1969). Medal "For Labor Distinction. In commemoration of the 100th anniversary of the birth of V. I. Lenin" (1970).
Member of the USSR Union of Cinematographers since 1962.
WORKS ON CREATIVITY
Artyukhov O. In the Lens — Homeland (in Kyrgyz).—"Ala-Too," 1972, No. 10, pp. 147—152.
Artyukhov O. Our Kadyrzhan.— "Komsomolets of Kyrgyzstan," November 7, 1969.
Artyukhov O. In the Lens—Homeland.— Collection "On the Wings of Cinema," Frunze, "Kyrgyzstan," 1974, pp. 33—43.
Ashimov K. The Screen of Kyrgyzstan Tells.— Moscow, Bureau for the Propagation of Soviet Cinematic Art, 1976, pp. 39, 52.
Bokonbaev S. Two Films on One Theme.— "Komsomolets of Kyrgyzstan," October 15, 1974.
Borov A. Operator Kydyraliev.— "Soviet Kyrgyzstan," May 6, 1970.
Lyndina E. Direct Conversation.— "Soviet Culture," August 22, 1975.
Lyndina E. "Beshik" means "Cradle" (Kadyrzhan Kydyraliev).— Collection "Cinema of Soviet Kyrgyzstan." Moscow, "Art," 1979, pp. 313—326.
Okeeva T. My Friend Kadyrzhan.— "Soviet Culture," January 17, 1975.
Khazarov A. Calling — Cinema.— "Komsomolets of Kyrgyzstan," January 6, 1963.
