Chasing shadows and umbrellas: two 1966 short films
ქოლგა (Qolga or Umbrella) // dir. Mikheil Kobakhidze // USSR
Mala svetlost (Little Light) // dir. Vlatko Gilić and Predrag Golubović // Yugoslavia
1966 is my favorite year in film. I also maintain that it is the most stylish year in film. These two shorts exemplify the particular artistic style and emotional style that makes 1966 such an important cinematic year for me.
Mala svetlost (Little Light), made in Yugoslavia by two directors born in present-day Bosnia and Montenegro. The story is whimsical but also somewhat jarring as it follows a child chasing his shadow through a city. I cannot identify which city, as I could not find the answer in my limited English-language sources, but if you know, please comment! I am very curious! The story follows this little boy as he wanders through the city chasing his shadow. It would appear to be a set-up for a simplistic story of joyful whimsy, but instead it more deeply understands childhood play by introducing some darkness. The child is dancing with his shadow, but he also tries to destroy his shadow. At one point, he tries to get his shadow run over by a train on a track. He also follows his shadow into dangerous situations like jumping off a bridge. He eventually meets another child, a girl child, who is also chasing her shadow. Their combined play seems to introduce a positive outcome. This short is limited in its set-up, but has such great elements in its setting. The architecture of the city and the light of the city makes this extraordinary. Only ten minutes, but captures the light and dark of childhood play in a striking way. You can watch here.
The second 1966 short ქოლგა (Qolga or Umbrella) was made in the USSR in present day Republic of Georgia. This film just astounded me. For me, it is a perfect example of a short film. It is perfectly conceived, shot, acted, edited. It follows a man who lives in a one-room shack by the railroad track and seems to have a job sounding a kazoo warning whenever a train is coming down the tracks. We watch him perform his orderly daily tasks, including milking his goat AND boiling the milk (because he knows that raw milk is a recipe for danger). He shares his life with a woman who acts as partner in their simple life. There seems to be contentment. Suddenly, an umbrella appears, and chasing this umbrella leads them into a much more citified and even commercial world. They run through a cafe. They see other people and, in particular, another man who holds the umbrella and sparks the woman’s interest. It sets up a choice for her between two men, but more importantly, between the umbrella or no umbrella. There is a kind of contentment in having an understood role, tasks, and routine—in tradition. There is also chaos and freedom in unknowns. There are political interpretations as a Soviet-produced film warning against the umbrella’s false lure. I loved everything about this short and immediately wanted to show it to a friend. You can watch it here.