Rustam Ibrahimbekov turned 80

In recent times some persons executing orders from above "have taken into their heads" to revise the personality and creative work of Rustam Ibrahimbekov. However, the whole world is well-aware of what is Rustam. The making of his personality ran through "In a southern town" to recover in "Business trip", gained a footing in "Ultimatum" finalizing in "Jalilsayagy" when he unmasked "Rats" who used to steal underhandedly in "At our bystreet" and hanged at "Gallows" and "A winter night"s dream"

February 5 is a jubilee of Rustam Ibrahimbekov. He gained wisdoms of life; however, Rustam"s astuter insight came as no relics of the past. He is inimitable with his artistic creation, with his artfulness. He burst into the world of arts with his film "In a southern town", and in the late 1960s together with a briliant creative youth to finalize events in a souther town. However, the film"s debut dragged on.

After the film came to an end, it caused mixed feelings. The First Secrtetary of the Communist Party of Azerbaijan, Veli Akhundov watched the film together with Central Committee Bureau members and got angry. He addressed a Secretary for Ideological Work of the Central Committee, Jafar Jafarov as saying: "What the ruddy hell are you doing?" The situation went from bad to worse. However, the same day "Komsomolskaya pravda" published a positive article in Moscow about Rustam Ibrahimbekov as a talented and phigh-potential scriptwriter.

Being aware of film"s positive evaluation by the Central Committee, Maksud Ibrahimbekov sent a copy of the newspaper article to Rustam, and Rustam to Jafar Jafarov. Having read the article, Jafar Jafarov submitted it to Veli Akhundov as saying: "we are denouncing the film while a fine comment about Rustam has been published in "Komsomolskaya pravda!" At this moment Veli Akhundov softened his stance to say the following: "O.K. may representatives of intelligentsia watch the film and voice their view on the subject".

The film"s run-through was accompanied by positive views of Rasul Rza and other well-known representatives of azerbaijani intelligentsia. Upon that the Central Committee had no issue with film"s run-through "In a southern town". By the way, the film was also watched by the Chairman of State Secirity Committee, Heydarv Aliyev. When a character, militsia officer Mustafa closed his eyes to crimes, H. Aliyev asked Rustam allusively: "Has Internal Minister watched the film?".

It should be added that the then reshuffles inside the country"s leadership had their impact on film"s destiny. On March 29, 1970 Russian-language newspaper "Bakinskiy rabochiy" as organ of the Central Committee of the Communist Party of Azerbaijan featured a positive review by N. Gadjinskaya of the film. However, to days later an Azerbaijani-language newspaper "Communist" published an utterly negative review of the film by critic Jalal Mamedov. Hopes triggered by the first article quickly foundered.

Having noted that the film started with bravura, critic Jalal Mamedov wrote: "We are watching high buildings, broad avenues and splendid monuments of Baku. To the strains of vigorous and joyful songs we are delighted with our Republic"s sightseeings and are proud of our achievements. We are happy to celebrate our Republic"s 50-anniversary. So is the film "In a southern town".

Author of the scenario Rustam Ibrahimbekov, film director Eldar Guliyev and cameraman Rasim Ojagov promise to acquaint the film audience with their new work of "Jafar Jabbarly Film Studio" which demonstrates noble feelings and thoughts, vivid image of characters, high exploits of their compatriots and contemporaries, heroes of wonderful pieces of art...

However, festal music composed by Faraj Garayev comes to an end. New picturesque views of Baku quickly disappear, and we suddenly notice one of the old quarters of this southern town which is going to be pulled down in a while... (By the way, the quarter has not yet been pulled down - J.H.) Shots follow each other, and we remain surprised: dwellers and events of the old quarter take us away from our real life! Regretfully, there are lots of people of this sort now.The same is true of the events of this sort in our days. People of this sort are to be nailed to the wall. This notwithstanding, it is impossible to create a piece of art by gathering single facts, isolated events. Single, rare pathological events and characters, as well as unhealthy events cannot give a good indication of life".

Jalal Mamedov asks a question whether the film creates an impression that the authors are describing quarters of the past 30-40 years. Shortly after it becomes evident that the film events are taking place in 1968. The critic charged the creative team of the film with "bringing up holy fools on the screen, one is worse than the other", and the author of the scenarion - with "inadequate knowledge of humans".

He wrote: "Unfortunately, the film "In a southern town" in an annoying manner repeats artistic methods of Italian neo-realists (children sitting on roofs, washing blood; chaffering hysteric women with yelling children; vagabonds nestling by corners; strained and deplorable face of an old woman through railing; naturalistic domestic scenes, etc.). Some people hold that thast the film caused disputes, hence, it is new thrilling thoughts. To clarify the situation: the film caused no disputes in fact. The situation was different: most analysts scrutinize it from tasks and purposes of party art standpoint, some people admire it yielding to narrow-minded, subjective emotions. Not be overlooked that a true national spirit in the art and literature is integrally related to the communist party principles, and irrespective of genre and topic of the work (life-asserting or criticizing) a progressive artist from the height of communist party principles is able to produce an artistic product worthy of our paople, our great epoch.

Following this critical assessment of the party body, a new First Secretary of the Central Committee of the Communist Party of Azerbaija, Heydar Aliyev speaking at the October (1971) Plenum charged the film with "distorting the Soviet mode of life" and harshly criticized its authors. The Ibrahimbekov"s creation ran through heat of criticism. Most works of Ibrahimbekov became a subject of criticism; ctitics tried "to re-educate" and enjail into the frames of the system.

However, it was ordinary wisdoms of life preached by his characters that played an important role in educating the society even despite national and ideological boundaries to finally reach world level heights.

In spite of the fact that all his works - "In a southern town ", "Interrogation", "Farewell, southern town", "Through the eyes of the ghost", "Caucassian trio", etc. were harshly criticized, Rustam Ibrahimbekov remained loyal to his principles, his ideas and his creative style. The film "Interrogation" screened 10 years after the film "In a southern town" suffered the same fate. Note that in the end of the 1970s Rustam was Honored Artist of the Azerbaijani SSR, well-known scriptwriter and writer. Following long debates Heydar Aliyev offered that titles in the beginning of the film reported that the described events had occurred propr to 1969. His motion was adopted, and "Interrogation" appeared on the screen.

However, while on the subject of Rustam Ibrahimbekov it"d be wrong to ignore great producer Rasim Ojagov. It was their creative cooperation that generated the most beasutiful, sincere and memorable patterns of the Azerbaijani cinema. Suffice it to metion joint films that entered the gold portfolio of the Azerbaijani cinematograph - "A birthday", "Interrogation", "In front of a closed door", "Park", "Another life", "A temple of air", "Seven days after murder", "Istanbul story", etc. which made a great contribution to the history of the Azerbaijani culture.

Rustam Ibrahimbekov is a talented dramatist with memorable dramatic conflicts of his works. Staged in more than 100 theaters worldwide, his plays "A woman behind a closed door", "Funeral in California", "A house built on sand" and "Lion-like" stole hearts of theater-goers. It is safe to say that he is one of the unique, recognized dramatists not only in Azerbaijasn, Russia but the whole world.

It has to be kept in mind that "Ibrus" holds a unique position in theatrical activity of Rustam. Note that "Ibrus" was set up in 2000 as the first authorly theatre and stemmed from writer"s intestinal, spiritual need and passion for art. Over a short period of time "Ibrus" turned into a cultural center performing miracles in two languages before the lights. However, the government of Azerbaijan closed doors and discontinued activities of this cultural oasis.

Plays "Lion-loke", "Looking for a parner for infrequent meetings", "A woman behind a door" and "Tartyuf Agayevich" remained for ever in the history of the Azerbaijani theater. A character of a Frenchman first ever on the Azerbaijani stage in "Monsieur Jordain ..." by great M. F. Akhundov found its logical denouement in the play by Ibrahimbekov who succeeded to turn nationalized Tartuf into Agayevich. It was splendid asctor"s talent of Fuad Poladov and Mehriban Zeki that "Ivan Bunin"s last duelling" became a great event in the native country of Bunin.

Ibrahimbekov displayed virtuocity in creating both interesting and dramatic "Ivan Bunin"s last dueling" themed on works of Banin (Umm-al-Banu - a granddaughter of famous Azerbaijani philasnthropists of the earlier 20 centurt Musa Nagiyev and Shamsi asadullayev) - "Caucasian days" impregnated with hatred against Bolsdheviks and "Paris days" narrating about a love story of Banin and I. Bunin. The play throws light on previously unknown features of Ivan Bunin what shocked the Russian intelligentsia.

The essential point to remember is that the performance marked a milestone in the history of "Ibrus". Even a famous "The Human Voice" by prominent French dramatist Jean Cocteau sounded in the performance. Ibrahimbekov extended delicacy to Moliere and Bunin and equally got into the spirit of Mirza Jalil Mamedguluzadeh. In this respect, a typical example is a play "Jaslilsayagy" ("Like Jalil"). Some events performed in the play are related to this day and come as a result of Rustam"s personal observations.

On the other hand, the play is interspersed with fragments from "A history of Danabash village" by Mirza Jalil. Rustam managed to combine current challenges with stories of Danabash village under the title of "Jalilsayagy". Scenic variant of the play is illustrative that despite past 100 years the Danabash village has not slipped into obscurity, even more, its reality scope expanded.

Of interest is the fact that when Mirza Jalil referred to the Danabash village he had acrually meant Azerbaijan as a whole. In doing so, the Danabash village extending from Mirza Jalil to Rustam Ibrahimbekov was none other than a peculiar imaghe of Azerbaijan.

It is worth pointing out that a greater part of Rustam Ibrahimbekov"s creation falls on the Soviet period. But all his works written in the Soviet times remain to be relevant to this day. Rustam made great strides in the Soviet period together with severities of the Soviet totalitarianism. Suffice it to look at materials of Plenums of the Central Committee of the Communist Party of Azerbaijan in the 1970s.

It should be added that the correspondence volume between the 5th department of the State Security Committee and various higher party and state bodies in connection with the film "In a southern town" by Rustam" scenario far outweighed the film script and that of the story "At 9th Khrebtovaya" to lay the basis of the scenario. A story "A business trip" caused an emotional stress of the literary critics of the "national in form and socialist in content" and not only in their minds.

Thus, staged by the S. Vurgun Russian dramatic theatre in the 1980s the play "Ultimatum" was stealthily taken off the repertoire. The point is that the play had first ever in terms of Soviet totalitarianism publicly referred to a word "Musavat" tantamount inn the reviewed period to bad language. Rustam opponents" allegation that the author of "Ultimatum" availed himself of "totalitarian Soviet mechanism of pressure" is a maniferstation of disrespectful attitude to our historticalm past.

Working in the 1980-90-s over my doctor thesis on the history of the Azerbaijani Democratic Republic, I was surprised at some notes made on marginals of documents of the Parliament of the Republic. In 1926-1927 these documents were studied by historians of the reviewed period Rayevskiy and Ratkauzer and in the end of the 1970-80-s by Rustam Ibrahimbekov. These documents formed the basis of "Ultimatum" which appeared on the theatrical stage to reveal the truth of the Azerbaijani Republic. In the 1980s a chairman of the Parliament of the Azerbaijani Democratic Republic reads out a telegram from Tiflis dated 1920 on the occasion of the recognition of of independebce of Azerbasijan by the Supreme Council of Versailles:

"On behalf of the Parliament and the Government of Georgia we congratulate the fraternal Azerbaijani people on affiliation in the family of European countries. May this triumph strengthen aspirations for the unity of our peoples and intensify their determinastion and will in the struggle for independence. Long live free people of Azerbaijan!".

In the recent past of our country during the times of communism construction when many people compared Stepan Shaumyan with heroes who took fire from Prometheus, Rustam Ibrahimbekov, recalling a notion of nationasl dignity, demonstrated to society the triumph and tragedy of the forming Azerbaijani national intelligentsia and its place in our national history and destiny.

Today, remembering our past in the grip of Soviet ideology, one clearly understands that not numerous patterns like "Ultimatum" were brilliant manifestations of our national resilience and vitality. At the height of Soviet totalitarianism the chairman of the Azerbaijani Parliament , Dr. Hasan-bey Agayev declared: "Dear deputies, let me read out a report on annihilating a Moslem population of Zangezur by Dashnak gangs". Worthy of notice are words of the chairman in the end of the play: "Dear deputies, I suggest you a hymn of the Republic composed by our well-known composer.May thse noble sounds will be glorifying for centuries the freedom and independence of native Azerbaijan!".

Nowadays it is very easy to speak and write these statements and get engaged in senseless philosophizing. However, Rustam wrote these words in 1982 and they sounded just once-twice on the stage of the Russian dramatic theatre in Baku.

At present, new Azerbaijanis ignoring Rustam Ibrahimbekov"s great role in the history of today"s nation easily forget "Ultimatum" delivered by Rustam to the totalitarian regime and issue their own "Ultimatum" to the great art master: "What are you, Rustam Ibrahimbekov?"

With his story "Wave interference" Rustam succeeded to create the most interesting and dramatic example of the Azerbaijani prose in the independence period. In a masterly fashion he described greediness of new Azerbaijanis misappropriating country"s riches under slogans of transition period; their passion for luxury; merciless fight for property; mysterious murder of academician trying to prevent their dirty deeds. All the above constitute a plot line of the story. Since "Wave interference" making, the situation in the country has gone from bad to worse, so Azerbaijan is reminiscent of tight bow-string. At one time Rustam wrote a scenario titled "Unfetched slap". And the "Wave interference" proved to be the slap cited above.

A Rustam"s film "Farewell, southern town" (filmmaker Oleg Safaraliyev) was different from 37 years old "In a southern town". Much changed since, even values. Notable for his arrogance, Fariz moved here recently together with his family. His 7-8 years old son frequently appears on a balcony and goes for a pee on a roof of a car in the courtyard owned by a policeman.

Every time a car security system turns on to din across the quarter. A car owner and neighbors are discontent but apprehensive ofv Fariz who holds a high position. It has to be kept in mind that "Farewell, southern town" is deficient of sincerity typical for "In a southern town" and narrates about an ugly life of a new Azerbaijani unaccustomed to the urban life in the post-Soviet period and made a fortune due to corruption.

Rustam Ibrahimbekov was born same day with Kara Karayev but with a 21 year difference. К.Каrayev was born on February 5, 1918 and Rustam on February 5, 1939. On the occasion of 50-anniversary of Karayev filmmaker Oqray Mirkasimov shot a documentary film by Ibrahimbekov" scenario" This is a voice of truth". The film is noted for its originality starting with virtuosic performance of Sheki zurna masters where Karayev acted as anchorman. The film became a valuable monument of the Azerbaijani cultural history thanks to Karayev"s voicer and music, recollections of composer"s mother Sona-khanum, a graduate of the Tagiyev"s Baku woman school.

Rustam has numerous titles and awards, he holds various posts: a Chairman of the Union of Cinematographers of Azerbaijan, a head of of the Union of Cinermatographers of the CIS and Baltic countries; 5 state awards and even a Commander of the Order of Literature and Asrt of France.

A spiritual portrait of Ibrahimbekov is accounted for by his civic stance, worldoutlook, loyalty to the truth, unique intellectuality. His "In a southern town" of the later 1960s revealed the bitter reality of socialism in the reviewed period. In May 2012 he rang the bells to warn against catastrophe awaiting Azerbasijan.

His reference to a famous phrase of John Donne: "Any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee" proved to be manifestation of intellectual"s responsibility for country"s destiny. He used to say painfully that "never before have so many money mongers and incompetent persons been drawn in country"s management... Total corruption and regular violations of elementary human rights led to the fact that Azerbaijan has always been in the list of most unfree countries across the world. This is one of the main reasons that for twenty years we cannot return our lands occupied by the aggressor-neighbor.

It is commonly known that when resolving international conflicts the world community declines from supporting countries with doubtful social-political reputation. If added to this an actual ban on mass assemblies and persecution of those claiming their right to the freedom of speech, the present situation in the country causes a sense of shame and sorrow of normal citizen.

At present, the whole world reaffirms the truth of Rustam"s words uttered seven years ago: "History books know that sooner or later all merciless dictatorships come to their ignominious end". Also, Rustam Ibrahimbekov was a central figure of the "Forum of Intelligentsia" that left a scar in our national memory. Having set up the National Council, Rustam as its first chairman managed to specify a "degree of risk" in our country with its long lost landmarks and took the liberty for all related risks. In particular, Ibrahimbekov declined from sweetness and light and took the side of the nation as manifestation of his moral dignity and civic stance. The latest reppressions notwithstanding, he openly backed the men of honor, those maligned, wrongly asccused and convicted by the present authorities.

I remember how he internalized arrest of Leyla-khanum, Hadija-khanum, today he is emotional about Gezal Bayramly" arrest. In the challenging period he wrote an article about Leyla-khanum; during a book campaign for political prisoners he sent me his autographed book for granting to Hadija-khanum. Quite recently he stuck up for Mehman Huseynov thus proving that he was anxious for unjustices reigning in our country.

Rescently Rustam Ibrahimbekov wrote his essay-remembrance "Nicely defeat". In fact, it was our joint "Nicely defeat" after Ibrahimbekov"s scenario whioch is an interesting summarization of the last years of his life. Rustam Ibrahimbekov begins hisc essay with explanation why he joined the struggle against the present regime in Azerbaijan. Asked about "Am I correct in doing so?" he answers unambiguosly and decisively: "Yes!". Then blames his conscience.

He maintains to have joined the struggle in his 73 years which, even despite all losses and difficulties, changed his life for the better. In his Oscar-winning film "Burnt by the sun" he explained his own life and creation as based on "degree of risk". Even ijn spite of the fact that this risk leads him sometimes to "nicely defeat!"