Chokmorov Suimenkul

Chokmorov Suimenkul

Film actor. People's Artist of the Kyrgyz SSR (1975). Laureate of the Lenin Komsomol Prize (1972) and the Toktogul State Prize of the Kyrgyz SSR (1978). Member of the CPSU since 1975. Born on November 9, 1939, in the village of Chon-Tash, Alamudun District, Kyrgyz SSR, in a peasant family. After completing seven years of schooling, he entered the Frunze Art School in 1953. After graduating in 1958, he was sent to the Leningrad Institute of Painting, Sculpture, and Architecture named after I. E. Repin. From 1964 to 1967, he worked in Frunze as a teacher and deputy director of the art school.

In 1967, he was invited by director B. Shamshiev to play the role of Bakhtygul in the film "The Shot at the Karash Pass." Since then, S. Chokmorov has performed in the arts as a painter and film actor. However, it was the latter profession that revealed the full richness of his artistic talent, bringing him wide fame both in the country and abroad.

Bakhtygul Chokmorov undergoes a complex journey from naive belief in the justice of the "good" bay to fighting against the oppressors of the people. The social awakening of the hero appeared on screen as psychologically justified and historically accurate. The creative success of the emerging film actor was noted with a diploma for the best male role at the VIII review-competition of filmmakers of Central Asia and Kazakhstan in Almaty in 1969 and an award from the magazine "Soviet Screen" at the IV All-Union Film Festival in Minsk in 1970.

The next role of S. Chokmorov — Daniyar in "Jamilya" (1969) by I. Poplavskaya — was personally close to the actor. It brought him back to his childhood years, restoring memories of the war years. In several scenes, he managed to reveal the rich inner world of the widely known literary character Ch. Aitmatov.

A true artistic discovery for S. Chokmorov was the image of the Bolshevik Nizametdin Khojaev he created in the film "Extraordinary Commissioner" (1970) by Uzbek director A. Khamraev. The talented actor depicted the image of a warrior and tribune, an internationalist and humanist, a son of the Leninist party.

In "The Scarlet Poppies of Issyk-Kul" (1971) by B. Shamshiev, Karabalta Chokmorov is a man hardened by life's trials, a convinced supporter of the Bolsheviks, wholeheartedly devoted to the ideals of V. I. Lenin. This interesting work of the actor was awarded a diploma and a prize for the best male role at the V All-Union Film Festival in Tbilisi in 1972.

In the next film "Bow to the Fire" (1972) by T. Okeev, S. Chokmorov managed to create a memorable and substantial image from a small role in the plot. His blacksmith Utur seems unremarkable at first glance. And in character, he is not a fighter at all. What distinguishes him from the crowd is the justice and honesty of a working man. He becomes an ally of Urkui Salieva in the fight against the kulaks.

In 1974, S. Chokmorov brilliantly took on the opposite role to all his previous works as Akhangul — an individualist and egocentric in another film by T. Okeev, "The Fierce." He truthfully showed how false beliefs lead a person to moral and physical degradation. The actor's new achievement was marked with a 1st prize for the male role at the VII All-Union Film Festival in Baku in 1974.

In 1974, S. Chokmorov starred in A. Khamraev's film "The Seventh Bullet." His Maksumov is a man of revolutionary heroism. A bright, complex personality.

The theme of Chokmorov's acting creativity is the difficult fate. A vivid confirmation can be seen in the image of Baytemir in the film "I am Tian-Shan," released in 1973 by I. Poplavskaya. Having experienced the loss of loved ones, Chokmorov's hero becomes withdrawn, isolated in his empty, cold home. But his heart has not hardened; he has not lost the ability to respond vividly and directly to the suffering of others.

In "The Red Apple" (1975) by T. Okeev, the actor created the image of the artist Temir. He managed to reveal to the audience the hidden world of feelings and intimate experiences of a modern, creative person.

S. Chokmorov's work in T. Okeev's film "Ulan" (1977) had a completely different character. Together with the director, he depicted the rapid decline of A. Mayramov, who found himself on the sidelines of life due to his own fault, succumbing to a falsely understood sense of camaraderie and violating his official duty. The absence of firm moral principles led him into a dead end — alcoholism. Following this came moral and physical destruction. The inevitability of such an outcome leaves no doubt in the viewer.

S. Chokmorov's high acting mastery in "Ulan" received recognition from the audience and critics. At the XI All-Union Film Festival in Yerevan in 1978, he was awarded the 1st prize for the best male role, and at the V International Film Festival of Asian, African, and Latin American countries in Tashkent in 1978, he also received a prize for the best male role.

Other roles: Zhang-bao ("Dersu Uzala" by A. Kurosawa), Onuma-san ("The Life and Death of Ferdinand Lusa" by A. Bobrovski), Father (1976, "The Eye of the Needle" by G. Bazarov).

Member of the USSR Union of Cinematographers since 1971.

Member of the Union of Artists of the USSR since 1968.

BOOKS, ARTICLES, REVIEWS

"My success is the success of my friends." — "Komsomolets of Kyrgyzstan," November 2, 1972.
Joy of risk. — "Komsomolskaya Pravda," November 12, 1972.
At the roots of the people. — "Soviet Screen," 1972, No. 3, p. 1.
Temir at the crossroads. — "Soviet Culture," August 20, 1974.
Discovery of character. — "Art of Cinema," 1974, No. 12, pp. 136-137.
I named my son Bakhtygul. — "Soviet Screen," 1975, No. 20, pp. 8-9.
I am not afraid of forecasts. — "Soviet Culture," January 20, 1976.
Born of the revolution. — "Soviet Lithuania," September 28, 1977.
Cameraman Abdykulov. — "Soviet Kyrgyzstan," October 23, 1977.
T. Mifune — S. Chokmorov. Five years later. "Soviet Screen," 1977, No. 19, pp. 18-19.
Sagynbek Ishenov. — "Soviet Screen," 1977, No. 22, p. 22.
Build yourself. — "Pioneer Truth," January 17, 1978.
"Painting is my theater." — "Soviet Screen," 1978, No. 13, p. 9.
At the clean spring. — "Pravda," August 22, 1978. To start again. — "Soviet Culture," August 22, 1978.
Truth of character. — "Pravda," January 28, 1979.
His melody (Tattububyu Tursunbaeva and Gulsara Adzhibekova). — Collection "Cinema of Soviet Kyrgyzstan." Moscow, "Art," 1979, pp. 267-280. Strong in spirit. — "Art of Cinema," 1978, No. 10, p. 46.

WORKS ON THE ACTOR'S CREATIVITY

Andreev F. Suimenkul Chokmorov. — "Culture and Life," 1973, No. 11, pp. 30-31.
Andreev F. Two "jumpers" of Suimenkul Chokmorov. — "Issyk-Kul Truth," October 4, 1973. Akchurin V. Create yourself twice. — "Lenin's Path," April 3, 1975.
Anin L. In the deserted steppe. — "Soviet Screen," 1974, No. 10, p. 6.
Artyukhov O. This is great, great art. — Collection "On the Wings of Cinema," Frunze, "Kyrgyzstan," 1974, pp. 89-100.
Artyukhov O. The poetry of life, the poetry of love. — "Evening Frunze," October 21, 1975.
Afidzhanova G. Suimenkul, son of Chokmor. — "Soviet Kyrgyzstan," May 12, 1974.
Afidzhanova G. Ulan — a cruel wind. — "Soviet Kyrgyzstan," October 1, 1977.
Ashimov K. The screen of Kyrgyzstan tells. Moscow, Bureau of Propaganda of Soviet Cinematic Art, 1976, pp. 55-59.
Babetov A. By the script of life. — "Komsomolets of Kyrgyzstan," October 3, 1974.
Babetov A. Suimenkul Chokmorov. — "Komsomolets of Kyrgyzstan," September 25, 1975.
Bayalinov M. The origins of unity. — "Soviet Screen," 1977, No. 20, p. 1.
Borisoglebskaya E. "Ulan." — "Soviet Screen," 1977, No. 6, pp. 20-21.
Varzhapetyan V. An actor from the village of Chon-Tash. — "Ogonyok," 1978, No. 14, p. 23.
Germanova I. The last shot. — "Soviet Screen," 1973, No. 12, p. 6.
Gorbacheva R. Many lives — one work. — "Komsomolets of Kyrgyzstan," November 7, 1978.
Ivanov A. At the crossroads of two muses. — "Komsomolets of Kyrgyzstan," April 15, 1971.
Ivanov A. Success at the festival. — "Soviet Kyrgyzstan," May 23, 1978.
Ishimov V. Turning back to yesterday. — "Art of Cinema," 1970, No. 9, pp. 28-30.
Kvasnetskaya M. The mystery of Suimenkul Chokmorov. — "Week," November 18-24, 1974, pp. 16-17.
Komarov A. The Ussuri cycle of Suimenkul Chokmorov. — "Soviet Kyrgyzstan," January 18, 1975.
Lipkoye A. Heroes of Chokmorov. — "Red Star," September 2, 1973.
Lipkoye A. "The Scarlet Poppies of Issyk-Kul." — "Soviet Screen," 1970, No. 20, pp. 10-11.
Lipkoye A. Suimenkul Chokmorov. — Collection "Actors of Soviet Cinema." Moscow, "Art," 1975, issue 11, pp. 202-219.
Lipkoye A. Suimenkul Chokmorov. Moscow, Bureau of Propaganda of Soviet Cinematic Art, 1974.
Lipkoye A. Return to the epic (Suimenkul Chokmorov). — Collection "Cinema of Soviet Kyrgyzstan." Moscow, "Art," 1979, pp. 290-301.
Lyndina E. An artist becomes an actor. — "Moscow Komsomolets," November 20, 1974.
Lyndina E. Do not hide from the truth. — "Friendship of Peoples," 1978, No. 7, pp. 189-197.
Okeev T. Ascent. — Collection "Film Panorama. Soviet Cinema Today." Moscow, "Art," 1977, pp. 167-186.
Oliyanchuk V. The palette of the actor. — "Izvestia," February 14, 1976.
Poplavskaya I. At the roots of the acting fate. — "Soviet Screen," 1970, No. 9, pp. 6-7.
Runin B. The hero suffers a collapse. — "Soviet Screen," 1974, No. 8, pp. 3-4.
Savchuk V. The road of search. — "Soviet Kyrgyzstan," September 4, 1966.
Seiitov B. A new role brilliantly played. — "Evening Frunze," November 2, 1978.
Suimenkul Chokmorov. — "Screen," 1974, No. 10, p. 6.
Suyundukov A. The awakening of Bakhtygul. — "Komsomolets of Kyrgyzstan," October 20, 1969.
Felinch A. Two jumpers of Suimenkul Chokmorov. — "Soviet Kyrgyzstan," January 1, 1974.
Khamraev A. He earned the name "Commissioner." — "Literary Russia," March 2, 1973.
Shatsillo D. "The Red Apple." — "Soviet Screen," 1975, No. 23, p. 2.
Khatuntsev V. The red poppies of Suimenkul. — "Komsomolets of Kyrgyzstan," November 6, 1979.
Shirokov V. The jumpers of Suimenkul. — "Young Guard," 1978, No. 11, pp. 264-277.
Shcherbakov K. In the distant civil... — "Soviet Warrior," 1974, No. 3.

FOREIGN FILM CRITICISM

Actor and artist (in Polish). — "Ekran," 1974, No. 4.
Vrashtyak Sh. From the land of friends (in Czech). — "Film a Divadlo," 1979, No. 12.
Gertcheva K. "The Scarlet Poppies of Issyk-Kul" (in Bulgarian). — "Filmovi Novini," 1973, No. 3.
Dimova D. "The Shot at the Karash Pass" (in Bulgarian). — "Filmovi Novini," 1970, No. 5.
Zay L. "The Fierce" (in Hungarian). — "Filmvilag," May 15, 1975.
Linke M. Suimenkul Chokmorov (in German). — "Freie Welt," 1976, No. 52.
Müller X. Suimenkul Chokmorov: artist and actor (in German). — "Filmspiegel," 1976, No. 26.
Müller R. The Seventh Bullet (in German). — "Freie Welt," 1974, No. 27.
Naydenova V. Unity of theme, unity of style (translated from Bulgarian). — "Literary Kyrgyzstan," 1973, No. 5.
Naydenova V. Old roots of new cinema (in Bulgarian). — "Kinoizkustvo," 1976, No. 1.
Pishichelli S. "The Scarlet Poppies of Issyk-Kul" (in Italian). — "Avanti," September 28, 1972.
Prashek Ts. To find the red apple (in Polish). — "Pshizyn," 1979, No. 19.
Skanyetti A. "The Scarlet Poppies of Issyk-Kul" (in Italian). — "Paeze Sera," September 26, 1972.
Khitroye D. Panorama of mature Kyrgyz cinema (in Bulgarian). — "Filmovi Novini," 1975, No. 12.
Shenhardt G. Artist and actor (in German). — "Füo Dih," 1970, No. 46.