{"id":638,"date":"2014-09-12T08:41:47","date_gmt":"2014-09-12T08:41:47","guid":{"rendered":"https:\/\/sibirijasberni.lv\/?p=638"},"modified":"2014-09-12T08:41:47","modified_gmt":"2014-09-12T08:41:47","slug":"armina-lejina-recenzija-par-filmu-stacija-latviesi","status":"publish","type":"post","link":"https:\/\/sibirijasberni.lv\/en\/filmas\/armina-lejina-recenzija-par-filmu-stacija-latviesi\/","title":{"rendered":"Arm\u012bna Leji\u0146a recenzija par filmu ‘Stacija Latvie\u0161i’"},"content":{"rendered":"

\u00a0Arm\u012bns Leji\u0146\u0161<\/strong><\/p>\n

LATVIE\u0160U BAIGAIS GADS KRIEVIJ\u0100<\/h1>\n

Recenzija par Dzintras Gekas dokument\u0101lo filmu<\/strong><\/p>\n

\u201eStacija Latvie\u0161i 1937\u201d<\/strong><\/h2>\n

\u201eStacija Latvie\u0161i\u201d \u2013 viena no iedarb\u012bg\u0101kaj\u0101m un meistar\u012bg\u0101k izveidotaj\u0101m re\u017eisores Dzintras Gekas Sib\u012brijas cikla film\u0101m. Gan st\u0101st\u012bjuma dramatur\u0123ijas, gan emocion\u0101l\u0101 piepild\u012bjuma zi\u0146\u0101 \u2013 dramatiski nospriegots kino darbs. Ar arh\u012bvu materi\u0101lu, kino, foto, audio dokumentu skaudro ne\u017e\u0113l\u012bbu, ar p\u0113tniecisk\u0101 film\u0113\u0161an\u0101 ieg\u016bto aculiecinieku liecin\u0101jumu nepastarpin\u0101to tie\u0161umu atkl\u0101ta t\u0101s 1937., 1938. gada liel\u0101s tra\u0123\u0113dijas kopaina, kur\u0101 savijas Krievij\u0101, Padomju Savien\u012bb\u0101, dz\u012bvoju\u0161o latvie\u0161u atsevi\u0161\u0137ie likte\u0146i. K\u0101 v\u0113st\u012bts v\u0113stures faktu zi\u0146\u0101 izsme\u013co\u0161aj\u0101, maksim\u0101li lakoniskaj\u0101, koncentr\u0113taj\u0101 filmas verb\u0101laj\u0101 da\u013c\u0101, subtitros, aizkadra las\u012bjum\u0101, — \u201e\u2026 Padomju Savien\u012bb\u0101 bija saskait\u012bti 151410 latvie\u0161i\u2026 Kopum\u0101\u2026 vismaz 372 latvie\u0161u kolonijas ar 12000 saimniec\u012bb\u0101m\u201d.<\/p>\n

T\u0101pat k\u0101 cit\u0101s re\u017eisores film\u0101s par NKVD deport\u0113tajiem, apcietin\u0101tajiem, no\u0161autajiem cilv\u0113kiem, ar\u012b \u0161aj\u0101 — aculiecinieku st\u0101st\u012bjumos alla\u017e tiek atg\u0101din\u0101ts, ka latvie\u0161u smagie likte\u0146i piedz\u012bvoti reiz\u0113 un kop\u0101 ar citu, \u012bpa\u0161i Baltijas tautu, p\u0101rst\u0101vjiem. \u201eMeln\u0101 Berta brauca pa m\u016bsu s\u0101d\u017eu \u2026 visus sav\u0101ca, latvie\u0161us, igau\u0146us, krievus\u2026 neviens neatgriez\u0101s\u201d, film\u0101 min Ga\u013cina Strazdi\u0146a no Kemerovas.<\/p>\n

St\u0101stot par Sta\u013cina re\u017e\u012bma nomoc\u012btajiem, no\u0161autajiem Krievijas latvie\u0161u m\u0101ksliniekiem, skolot\u0101jiem, \u017eurn\u0101listiem, rakstniekiem, aktieriem, pan\u0101kts dzi\u013c\u0161 dramatiskais, var\u0113tu pat teikt, idejiskais kontrasts. Vien\u0101 pus\u0113 — mazas tautas gai\u0161\u0101ko pr\u0101tu p\u0101rst\u0101vji, kas r\u016bp\u0113jas par savu \u013cau\u017eu<\/p>\n

gar\u012bg\u0101 apv\u0101r\u0161\u0146a papla\u0161in\u0101\u0161anu, otr\u0101 \u2013 milz\u012bga, brut\u0101la, me\u017eon\u012bga un hist\u0113riska n\u0101v\u0113jo\u0161u represiju ma\u0161\u012bna, kas n\u012bst intelektu, kult\u016bru. Atkl\u0101jot, k\u0101 represiju ma\u0161\u012bna izn\u012bcin\u0101ja mierm\u012bl\u012bgo latvie\u0161u inteli\u0123enci, eliti, filmas veidot\u0101ji ne vien pastiprina tra\u0123isko s\u0101pi, bet ar\u012b l\u012bdz galam atmasko re\u017e\u012bma cinismu un baismos m\u0113r\u0137us.<\/p>\n

Film\u0101 tas vis tiek par\u0101d\u012bts, izmantojot pla\u0161u kinematogr\u0101fisko l\u012bdzek\u013cu arsen\u0101lu — t\u0101, lai b\u016btu konkr\u0113ti, tie\u0161i, uzskat\u0101mi un iedarb\u012bgi. Aculieciniece st\u0101sta: \u201eMamma iek\u016bra kr\u0101sni un visas gr\u0101matas sadedzin\u0101ja, visus dokumentus, visu\u2026 Ja vi\u0146i b\u016btu atradu\u0161i, m\u016bs visus no\u0161autu.\u201d Un turpat mont\u0101\u017eas paral\u0113le \u2013 arh\u012bva dokuments, plak\u0101ts: \u201e Kop\u0101 m\u0113s veidosim m\u016bsu dz\u012bvi lab\u0101ku!\u201d<\/p>\n

Pretstat\u012b\u0161ana, kontrasta izmanto\u0161ana pan\u0101k as\u0101ku, skaidr\u0101ku iedarbi uz skat\u012bt\u0101ju, nek\u0101, ja b\u016btu gari tekstu\u0101lie skaidrojumi.<\/p>\n

Prec\u012bzi, m\u0113r\u0137tiec\u012bgi, ar maksim\u0101lu efektu \u0161aj\u0101 Dz. Gekas film\u0101 pielietotas kontrasta un kontrapunkta metodes, t\u0101d\u0113j\u0101di papla\u0161inot iesp\u0113jas asoci\u0101cij\u0101m un p\u0101rdom\u0101m. Abas \u0161\u012bs metodes efekt\u012bvi darbojas paral\u0113laj\u0101 mont\u0101\u017e\u0101, radot asu saduri starp cilv\u0113ciski patiesajiem interv\u0113to st\u0101st\u012bjumiem par apcietin\u0101\u0161anu, aizve\u0161anu, drausm\u012bgajiem apst\u0101k\u013ciem un — t\u0101 laika ofici\u0101lo propagandu, bravur\u012bgiem par\u0101des mar\u0161iem, salkan\u0101m \u201emasu dziesm\u0101m\u201d un mel\u012bgiem sauk\u013ciem: \u201eSlava tautai uzvar\u0113t\u0101jai!… Tr\u012bsdesmito gadu varo\u0146us sauc par romanti\u0137iem un entuziastiem\u201d. M\u0113r\u0137tiec\u012bgas kontrfront\u0101cijas pa\u0146\u0113mieni padzi\u013cina atsk\u0101rsmi par 1937., 1938. gada lielo teroru, kas, b\u016bdams tuvs genoc\u012bdam, bija v\u0113rsts pret latvie\u0161iem k\u0101 \u201epretpadomju elementiem\u201d un \u201ekontrrevolucion\u0101ro nacion\u0101lo kontingentu\u201d.<\/p>\n

Filmas re\u017eisore Dz.Geka un mont\u0101\u017eas re\u017eisors Armands Zvirbulis tik labi p\u0101rvalda kontrasta un kontrapunkta metodes, ka sp\u0113j improviz\u0113t ar meistar\u012bgu vieglumu, pan\u0101kot v\u0113l k\u0101du smalku efektu. Reiz\u0113m ne vien aculiecinieku st\u0101st\u012bjumi kl\u0101jas p\u0101r veco kinohroniku fragmentiem, bet ar\u012b 30.-tos gadus raksturojo\u0161\u0101, mar\u0161veid\u012bg\u0101 m\u016bzika it k\u0101 nejau\u0161i uzpl\u016bst uz nesak\u0101rtotas vides \u201eainav\u0101m\u201d un sadz\u012bves ain\u0101m m\u016bsdienu Sib\u012brij\u0101, rosinot \u00a0filmas skat\u012bt\u0101jus p\u0101rdz\u012bvot un saprast sakar\u012bbas starp aizg\u0101ju\u0161o un patreiz\u0113jo laiku.<\/p>\n

Film\u0101 prec\u012bzi izsp\u0113l\u0113ts, emocion\u0101li t\u0113laini atkl\u0101ts ne\u017e\u0113l\u012bg\u0101 laikmeta paradokss. Epizod\u0113 par masu slepkav\u012bbu vietu B\u016btavu ietverta \u013coti personiska mikroepizode par to, k\u0101 latvie\u0161u izgl\u012bt\u012bbas biedr\u012bbas \u201ePrometejs\u201d m\u0101kslinieka d\u0113ls tikai nesen, m\u016bsdien\u0101s dab\u016bjis zin\u0101t, ka t\u0113vs no\u0161auts \u0161aj\u0101 n\u0101ves poligon\u0101 .. net\u0101lu no vietas, kur \u0123imenei iedal\u012bta zeme m\u0101jas b\u016bv\u0113\u0161anai. Tas film\u0101 par\u0101d\u012bts t\u0101, lai viens atsevi\u0161\u0137s gad\u012bjums paceltos l\u012bdz \u201eliel\u0101 cinisma laikmeta\u201d simbolam.<\/p>\n

Filmas risin\u0101jums ne br\u012bdi neiesl\u012bgst nekinematogr\u0101fisk\u0101s, teor\u0113tisk\u0101s apcer\u0113s, no konkr\u0113t\u012bbas atrautos visp\u0101rin\u0101jumos. Liel\u0101 terora izrais\u012bt\u0101 tra\u0123\u0113dija k\u0101 liel\u0101 cilv\u0113cisk\u0101 tra\u0123\u0113dija film\u0101 ir konsekventi individualiz\u0113ta jeb personific\u0113ta. Gan autoru lakoniskaj\u0101 st\u0101st\u012bjum\u0101 par atsevi\u0161\u0137u cilv\u0113ku, \u0123imeni, gan r\u0101dot personisk\u0101s fotogr\u0101fijas, apcietin\u0101t\u0101s personas fotokart\u012btes, k\u0101 ar\u012b foto un kino dokumentus, kuros redzamas nometin\u0101jumu vietas, darba ainas bargos apst\u0101k\u013cos, vergu darba panor\u0101mas Sib\u012brij\u0101, T\u0101los zieme\u013cos vai Maskavas \u2013 Volgas kan\u0101la b\u016bv\u0113. Individualiz\u0113t\u0101s tra\u0123\u0113dijas pamat\u0101 atkl\u0101jas intervij\u0101s jeb sarun\u0101s ar radiniekiem, b\u0113rniem vai mazb\u0113rniem, kas paliku\u0161i dz\u012bvi un izdz\u012bvoju\u0161i l\u012bdz m\u016bsdien\u0101m. Emocion\u0101li piepild\u012btas, sarunas ir dz\u012bvas, ta\u010du skopas v\u0101rdos, kas pie\u0161\u0137ir papildus skaudrumu. It k\u0101 katrs liecin\u0101jum\u0101 izteiktais v\u0101rds liktu no jauna p\u0101rdz\u012bvot atmi\u0146\u0101 atgriezto. Psiholo\u0123iski t\u0101 ar\u012b.<\/p>\n

— K\u0101d\u0113\u013c arest\u0113ja\u2026?<\/p>\n

— Apcietin\u0101ja nevain\u012bgus cilv\u0113kus. Vi\u0146\u0161 nebija politi\u0137is, bija m\u0101kslinieks\u2026.<\/p>\n

— Vi\u0146u nepacietin\u0101ja m\u0101j\u0101s, tas ar\u012b bija viens no pa\u0146\u0113mieniem, vi\u0146u izsauca.. Neviens nav atgriezies\u2026 visi no\u0161auti\u2026<\/p>\n

— Vi\u0146\u0161 kolhoz\u0101 \u0123\u0113r\u0113ja \u0101das, t\u0101p\u0113c apcietin\u0101ja\u2026 no\u0161\u0101va, un viss\u2026<\/p>\n

Filmas beigu da\u013c\u0101 iek\u013cauts PSRS iek\u0161lietu tautas komis\u0101ra Nikolaja Je\u017eova pav\u0113les \u2013 k\u0101 re\u017e\u012bma aps\u016bdz\u012bbas dokumenta \u2013 pilns teksts. \u201eLikvid\u0113t Latvijas izl\u016bkdienestu darbu un latvie\u0161u pretpadomju \u00a0darb\u012bbu\u2026 Arestam tiek pak\u013cauti visi latvie\u0161i, kuri atrodas operat\u012bvaj\u0101 uzskait\u0113\u2026\u201d Un t\u0101d\u0101 gar\u0101 v\u0113l un v\u0113l. Bet paral\u0113laj\u0101 mont\u0101\u017e\u0101 \u2013 fotodokumenti, kas \u013cauj izjust, k\u0101 ne\u017e\u0113l\u012bgais, bet birokr\u0101tiski sausais teksts sk\u0101ra dz\u012bvos cilv\u0113kus.<\/p>\n

Film\u0101 ar\u012b par\u0101d\u0101s, k\u0101 tr\u012bsdesmito gadu notikumu baisma atskan l\u012bdz \u0161odienai. Salauztajos likte\u0146os, nesp\u0113j\u0101 atgriezties vec\u0101ku un vecvec\u0101ku dzimten\u0113, pesimistisk\u0101s prognoz\u0113s. \u201eDr\u012bz m\u016bsu vairs neb\u016bs. Neesam ne latvie\u0161i, ne krievi\u2026 T\u0101p\u0113c, ka neprotam savu valodu. Neprotam latviski run\u0101t\u201d, — dr\u016bmi secina viena no filmas varon\u0113m. Ta\u010du filmas autori pau\u017e citu noska\u0146ojumu \u2013 turpat Sib\u012brij\u0101 saskat\u012btaj\u0101, saklaus\u012btaj\u0101 sak\u0146ojo\u0161os tic\u012bbu latvie\u0161u valodai, l\u012bdz ar to nacion\u0101l\u0101s kult\u016bras saglab\u0101\u0161anai par sp\u012bti dr\u016bmajai pag\u0101tnei un sare\u017e\u0123\u012btajiem laikmetu grie\u017eiem. Optimisms izteikts nevis klajos publicistiskos v\u0101rdos aizkadra tekst\u0101, bet pastarpin\u0101ti — dziesm\u0101, ko dzied savulaik Krievij\u0101 iece\u013coju\u0161o tautie\u0161u p\u0113cn\u0101c\u0113jas. Suhonojas sievu ansamblis latviski izpilda latviskas dziesmi\u0146as tradicion\u0101lo tautas dziesmu gar\u0101 \u2013 par cilv\u0113ka personisko laimi, \u0123imenes laimi, m\u012blest\u012bbas laimi un cer\u012bb\u0101m:<\/p>\n

\u201e\u2026Kur lik\u0161u vainadzi\u0146u?<\/p>\n

Kar savu vainadzi\u0146u<\/p>\n

Ozola zari\u0146\u0101\u2026\u201d<\/p>\n

Vienk\u0101r\u0161a, cilv\u0113ciska, gai\u0161a un \u00a0liriska, pat sav\u0101 zi\u0146\u0101 bezb\u0113d\u012bga dziesma \u2013 bez nep\u0101rvaram\u0101m b\u0113d\u0101m! \u2013 skanot gan s\u0101kum\u0101, gan beig\u0101s, veido\u00a0 rondo kompoz\u012bciju \u2013 cer\u012bbas un tic\u012bbas iez\u012bm\u0113tu, dv\u0113selisku ietvaru filmai-tra\u0123\u0113dijai.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Arm\u012bns Leji\u0146\u0161 LATVIE\u0160U BAIGAIS GADS KRIEVIJ\u0100 Recenzija par Dzintras Gekas dokument\u0101lo filmu \u201eStacija Latvie\u0161i 1937\u201d \u201eStacija Latvie\u0161i\u201d \u2013 viena no iedarb\u012bg\u0101kaj\u0101m un meistar\u012bg\u0101k izveidotaj\u0101m re\u017eisores Dzintras Gekas Sib\u012brijas cikla film\u0101m. Gan st\u0101st\u012bjuma dramatur\u0123ijas, gan emocion\u0101l\u0101 piepild\u012bjuma zi\u0146\u0101 \u2013 dramatiski nospriegots kino darbs. Ar arh\u012bvu materi\u0101lu, kino, foto, audio dokumentu skaudro ne\u017e\u0113l\u012bbu, ar p\u0113tniecisk\u0101 film\u0113\u0161an\u0101 ieg\u016bto … Continue reading “Arm\u012bna Leji\u0146a recenzija par filmu ‘Stacija Latvie\u0161i’”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4,6],"tags":[],"class_list":["post-638","post","type-post","status-publish","format-standard","hentry","category-filmas","category-info"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2UUg9-ai","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/posts\/638","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/comments?post=638"}],"version-history":[{"count":1,"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/posts\/638\/revisions"}],"predecessor-version":[{"id":639,"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/posts\/638\/revisions\/639"}],"wp:attachment":[{"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/media?parent=638"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/categories?post=638"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sibirijasberni.lv\/en\/wp-json\/wp\/v2\/tags?post=638"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}