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შერეკილები [sherekilebiThe Eccentrics
Almost half a century ago, the Georgian writer Rezo Gabriadze wrote a book about the meeting of an eccentric physicist from the mental asylum and an infatuated peasant lad, inventing flight long before Jules Verne dreamed of it and flying off into the sky. Unfortunately, their aircraft was unable to land again and the dream was lost in the heavens, where angels met the inventors.
A remarkable film was made, based on the book. This half sad, half comic tragedy was saturated with Georgian dialogue whose popular phrases became slogans.
I don’t cry easily, but Georgian cinema often makes me cry, Federico Fellini once said. Philosophical, very clever, colourful, at the same time childlike, it is an utterly unique phenomenon.
Georgian cinema has starred at festivals from Cannes to Seattle, but above all stand Georgia’s artistic ambience, its position, its intonation, thought, its desirable situation. Georgian cinema always incarnates Georgia. Despite Soviet oppression, censorship, civic chaos or a thousand other things, it has always been a beautiful art.
One of its traditions is a strong collaboration with literature. You cannot say that Georgian cinema is just book-based film: it is a master at reconceptualising.
‘The Crazy Men’, sherekilebi, is a consequence. Words, revived in the book and then in the film, denote mankind positively taken out of normal thought patterns.