Beloe Solntse Pustyni

In Motyls erfolgreichstem Film Bekoe solntse pustyni geht es um Verbannung und Vertreibung. Der Offizier Sukhov verkörpert die Stärke des sowjetischen Reiches: In heroischen Einstellungen, immer mit sauberer Uniform, durchquert er die Wüste und folgt seiner Mission, einen Harem zu befreien. Der Kern der Geschichte dreht sich um eine Dreiecksbeziehung zwischen Sukhov, seiner Frau und der Versuchung der Haremsdamen.

White Sun of the Desert was to be the Soviet answer to the popular Western. Yet, while clearly drawing on Western cinematic tropes, the film undoubtedly spoke to Soviet audiences regarding issues of nation and empire, since it promulgates the nationalist ideals of a Russian-dominated Central Asia. Since the film’s release, however, screenwriter Rustam Ibragimbekov has vehemently denied such intentions. Indeed, looking closely at how director Vladimir Motyl visually constructs the film, it becomes clear that he emphasizes the incompatibility of Soviet and Central Asian cultures, plus the failure of the Soviet project in the East. This was an interesting cinematic stand to take at a time when the idea of the ‘brotherhood of nations’ was still very much alive in Soviet rhetoric. Ultimately we are led to consider the possibility that Russia’s presence in Central Asia not only endangers Russian purity, but also destroys an engaging, exotic, traditional Eastern culture. (Emily Hillhouse; Adapted from Directory of World Cinema: Russia, with the kind permission of Intellect Books)