Keto and Kote introduced by Gela Charkviani

The earliest full-scale Georgian cinematic musical Keto and Kote (1948), based on the comic opera by Viktor Dolidze, was screened at the Georgian Embassy in April 2011, with the first showing of a newly restored print. Directed by Vakhtang Tabliashvili and Shalva Gedevanishvili, starring leading actors of different generations, such as Medea Japaridze, Veriko Andjaparidze, Vaso Godziashvili and Akaki Kvantaliani, the film features splendid music, choreography and humour.

In a wonderfully entertaining and fascinating introduction Gela Charkviani, the distinguished diplomat, TV personality and former Ambassador to the UK and Ireland, described how the Chattanooga Choo Choo did more for American diplomacy than the CIA ever could.

Keto da Kote
(Introduction by Gela Charkviani)
 
Hardly are there many people still around who clearly remember the time when Keto da Kote, the first Georgian cinematic musical hit the screens. Luckily, I happen to be one of those few. It should be added, however, that my links to the film do not end there. Owing to some special circumstances of my childhood I was privy to some of the intrigues and undercurrents that accompanied, or more precisely, plagued the process of its creation. I will talk about them later. As for now, let me simply state that in terms of music, casting, acting and scenery Keto da Kote is a masterpiece. It recreates and celebrates the life of the nineteenth century Tbilisi, which happily blended Georgian, European and Middle Eastern elements. These three are clearly heard and seen in the music, in the architecture, in the manners of the characters, and the clothes they wear.

The film is based on the eponymous comic opera by Victor Dolidze. Born into a peasant family in Western Georgia in 1890, Dolidze first became known to the musical community of Tbilisi, when as a young man he won the first prize at a Mandolin contest. His special attachment to plucked string instruments never faded and he is even rumoured to have written all his orchestral scores playing the guitar and mandolin, never resorting to the help of the piano keyboard. Victor Dolidze died at the age of forty three, which was not unusual in those times, with tuberculosis acting as the Grim Reaper. Although he did write several other pieces, Dolidze will be remembered for his classic comic opera Keto da Kote, first staged in Tbilisi in 1919. It became an instant success and has ever since been part of the repertoire of the Tbilisi Opera and Ballet Theatre.

Dolidze, who wrote the libretto himself, had borrowed the plot from Khanouma, a popular comedy by the nineteenth century Georgian playwright Avksenty Tsagareli.
Set in Tbilisi, the play reflects the realities of the period. It is the time when the debt-ridden, impoverished aristocrats, despite their seeming panache and occasional show of confidence, are desperately looking for rich brides, who, quite naturally, are to be found among the emerging bourgeoisie, who, in their turn, are looking for status and acceptance. Most marriages are arranged. The romantic ones are rare and not particularly encouraged by the predominantly pragmatic parents. Given the peculiarities of the matrimonial scene, it is little surprise that marriage brokers are an important class of people. Also they are numerous and they fiercely compete with one another.

Having undergone several minor transformations, as it travelled from the theatre to the opera and further to the cinema, the plot of the play finally took the following shape: The elderly prince Levan has at long last decided to marry and an experienced matchmaker Barbale (Kabato in the film version) is arranging for him to wed the daughter of a wealthy merchant Makar. Keto, that’s the would-be bride’s name, has a very different agenda. She is in love with a charming young man Kote (short for Constantine), whom she had met as a student in St. Petersburg and is now determined to marry. Coincidentally, Kote happens to be Prince Levan’s nephew, as noble, yet a lot poorer than even his bankrupt uncle. At this juncture a rival matchmaker  Khanouma, who bears a grudge against both - Makar and Barbale, enters the scene. She promises Keto and Kote to thwart Levan’s marriage. When the Prince and his entourage come to the merchant’s sumptuous, if somewhat garishly furnished house to inspect the bride, Levan finds Keto as cheap and disgusting as a nouveau riche bride can be. While his aristocratic entourage are amused and sort of heartened by the sense of their class superiority, the Prince feels duped and insulted. He is furious. His hand is nervously groping for the hilt of his dagger. ... All ends well. Real love triumphs.

I regret to say that the real life plotting surrounding the filming of the cinematic version of Keto da Kote was by far more sinister. Little wonder, for the years 1947-48 in the USSR were incomparably more menacing than the end of the 19-th century in the Imperial Russia. The bloodiest war in history had just ended and only a decade had passed since the so called Stalinist purges had claimed the lives of millions of Soviet citizens. The atmosphere was utterly tense. Any deviation from ideological purity – a concept which had never been clearly defined, could entail severe punishment. The eerie unpredictability of politics was compounded by the ubiquitous human frailties – envy and jealousy.

It was then that Vakhtang Tabliashvili – a promising young director, mostly known for his theatrical productions, was offered to do a cinematic version of the opera. Naturally, there were others who must have eyed this well-tried material which, if properly handled, was practically failsafe – Tsagareli’s play Khanouma, even though its author was ridiculed by his contemporaries, had already stood the test of time. As a matter of fact, later, after Giorgi Tovstonogov, an outstanding Russian stage director put on the production of Khanouma in Leningrad to the music by Gia Kanccheli, a sort of Khanouma pandemic began and the play was staged in over ninety theatres.  But now, that Tabliashvili was already assigned the contract the only way to reverse the process was to find faults with the script he had presented to the so called Art Council of the Georgian Film Studio and to warn the authorities of an inevitable embarrassment, if the director was allowed to proceed with his work the way he had conceived it. The allegations most often heard were the following: “Instead of caricaturing aristocracy, the class enemy is treated with sympathy bordering on affection. Neither the poverty of the masses, nor any other hardships endemic to the old times are featured in the script. Showing a beautiful church wedding could set an example and, therefore, be ideologically damaging. There is a number of obvious casting mistakes. As for the scene, wherein a group of Kharachokheli – the Tbilisi craftsmen, known for their traditions of sweet singing, reciting poetry and feasting, are serenading Keto at Kote’s request, is cheap and tasteless.” The rumours finally reached the very top of the party hierarchy and the work was halted.

Here, it is important to note that Soviet leaders took cinema very seriously. Lenin had called it “the most powerful vehicle of propaganda.” Stalin loved movies and watched a wide variety of them practically every night. But when it came to passing judgement on the Soviet-made films intended for the masses, the criteria he applied were strictly ideological. He was the ultimate arbiter and no film could ever be either conceived or released without his approval. He personally signed executive orders regarding the films to be made each year by the studios across the country. The lists were pretty short. On the average the Soviet studios produced around nine or ten films a year. Incidentally, Keto da Kote is number eight on the list of nine for the year 1947 signed by Stalin. This system of guardianship, whereby one man, or an exclusive group of party ideologues, decides what is good and what is bad for the rest of the citizens, did not change much after Stalin’s death and continued until the collapse of the Communist regime in the USSR, even if the criteria had been considerably relaxed.

Soon Vakhtang Tabliashvili realized that by demanding that he should re-write the script the officials, as well as some of his colleagues, are actually intending to ruin the film. He felt desperate but decided to fight back. In his book of memoirs published in 1996 the director describes in detail the train journey he had made to the Black Sea resort of Gagra where he hoped to meet with the then First Secretary of the Central Committee of the Communist Party of Georgia Candide Charkviani, who stayed there because Stalin, as usual, spent his holidays at the coast. To Tabliashvili’s surprise it took him only one day to arrange the meeting with Georgia’s top party boss. After reading the script Charkviani told him that he liked the overall concept of the future film and that he didn’t see any reason why Tabliashvili should not continue working according to his original plan. This also meant that now no one would dare harass him any more.
“That’s how the happy days of my life began.” - writes Tabliashvili and continues, “No one and nothing stood in my way. The scenery was built to the highest standards. We could borrow beautiful objects from state-owned palaces and museums, as well as from private homes. We used the elegant interiors of the Central Public Library to shoot several episodes… I was totally engaged in sculpting the beauty of life.”

And indeed, he put into the film whatever or whoever he regarded as beautiful in
Tbilisi. Not only the cameo parts, but even the crowd scenes in the film feature celebrities. Tabliashvili was not alone in his efforts. He was helped by an experienced filmmaker Shalva Gedevanishvili, who as a young man had worked in Paris with Rene Clair, a renowned avant-garde cinematographer. It is my belief, however, that of particular importance was his collaboration with the composer Archil Kereselidze, widely regarded as one of the best melodists of his time. Kereselidze added some enchanting new pieces to the score by Victor Dolidze. As they alternate, the original and the added passages segue into one another unnoticeably, as if they had been written by one man at a stroke. The Dorian mode of the true Georgian tunes, the Middle-Eastern harmonic minor and a variety of European scales happily mix to create, what I would describe as a sonic tapestry of the Old Tbilisi.

Keto da Kote caused a sensation in Georgia as it was released in 1948. But the story of the film does not end there. It took another six long years and the death of a tyrant for this innocuous musical comedy to be allowed to cross Georgia’s borders.

The DVD I am holding in my hand is of a semi-documentary inspired by the peripeteias accompanying the filming of Keto da Kote. It was made quite recently by a well-known Georgian director Merab Kokochashvili. The story, written by the highly regarded contemporary writer Aka Morchiladze, is narrated by Ramaz Chkhikvadze, the actor who had caused a sensation in London as Richard the Third back in 1980. The film is very well done and I enjoyed watching it a lot. It paints a  true picture of Tbilisi, its enduring distinct character, its easygoing, laid back ambience. The contents of the narrative regarding Keto da Kote do not differ much from what I have told you. But I was somewhat puzzled to hear the ending of the story. ”Stalin may not have been shown the film at all.”- surmises the narrator and says something to the effect that it may have been done for fear that if Stalin saw it and disliked it, all the copies of the film would have to be destroyed. So, some wise good people may have sacrificed the idea of exposing it to the wider audiences throughout the USSR and the rest of the world for the sake of rescuing Keto da Kote from possible annihilation.

This is simply untrue. Stalin saw the film and I know it for certain, from the primary source, or from the horse’s mouth, if you will. Candide Charkviani told me how hilarious Stalin was, how he laughed and cheered, as he watched Keto da Kote at his dacha in Kuntsevo. The private screening was attended by a few others. From time to time some of those present would whisper something into Stalin’s ear. “I knew it didn’t bode well.” – said Charkviani, who happened to be my father, and continued, - “when the film ended, Stalin called me and said curtly - Show it in Georgia, but not in the rest of the Soviet Union.” He didn’t explain why. He never did.

Art may be useless as Oscar Wilde has put it, but it is powerful and it does have a potential to cause change.

I have long maintained that Chattanooga Choo Choo did more to erode the Soviet Communism, than did the CIA.

Keto da Kote can hardly topple a government, but it is definitely worth seeing.
 

News

26th Georgian Studies Day 2014

Georgian Studies Day is designed to bring together delegates from governmental, non-governmental and business circles, academic and communities in order to address all significant issues of Georgia’s political, economic and cultural life. The event will also provide a platform for spreading and sharing of information about participants’ activities.

This year the title of the meeting is Georgia and the future of young people and will be held on Thursday 6th November, at the University of Westminster, 309 Regent Street, London, W1B 2UW. Some refreshments will be provided.  

We would be delighted if you could join us. Here is a PDF of the preliminary programme.

The conference room is limited to 80 persons and therefore places will be on a 'first come, first served' basis. We also need to have names of attendees not later than 1 week before the meeting in keeping with the University of  Westminster's security policy.

Please email This email address is being protected from spambots. You need JavaScript enabled to view it. ASAP to guarantee a place.

Georgian Language Classes in UCL 2014 with Keti Kalandadze

These are the options for those interested in learning the language:

Tuesdays (intermediate class) is held in Kathleen Kenyon Meeting Room, which is on the 2nd Floor of Lewis’s Building, University College London, Gower Street. WC1E 6BT from 7. 00pm-8.00pm. (The knowledge of alphabet and simple conversational experience is necessary)

Wednesdays (complete beginners ) is held in Kathleen Kenyon Meeting Room, which is on the 2nd Floor of Lewis’s Building. University College London, Gower Street. WC1E 6BT from 7.00pm-8.00pm (no knowledge of any Georgian required)

Please email This email address is being protected from spambots. You need JavaScript enabled to view it. or phone 07525 437 850 or just turn up on the day.

Eduard Shevardnadze dies aged 86

Ex-President Shevardnadze was born 25 January 1928, in the Gurian city of Lanchkhuti. As Soviet Foreign Minister from 1985 until 1990, he became one of Georgia's most internationally known politicians and has said "I'm proud that I had a part in ending the Cold War, in the reunification of Germany, the destruction of nuclear weapons, disarmament". He returned to Georgia in 1992 and was probably more popular abroad than at home but became President of Georgia in 1995 until ousted from power in 2003 in the bloodless Rose Revolution. Although a controversial figure, since his fall from power and retirement he was able to live peacefully in Tbilisi, despite occassional protesters camped outside his residence, until his death after a long illness earlier this week. A book of condolence will be available to sign at the Georgian Embassy, 4 Russell Gardens, London W14 8EZ, from 10am to 3pm on the 10th and 11th of July. For further comment please see the following links: The National InterestBBC

Georgian Language Day in UCL 7 May 2014

You are invited to come and listen to an intriguing talk by esteemed Professor Donald Rayfield on the Georgian Language, followed by a brief presentation on the benefits of studying Georgian. There will be a Q&A at the end.

‘Mysteries and controversies - the Georgian Language’s Origins and Identity’ Professor Donald Rayfield

‘Why I Study Georgian’ Maximilian Hess – Political Analyst AKE Group

Wednesday, 7th May 2014 7.00 - 8.30pm 

Anatomy Gavin de Beer LT, MEDICAL SCIENCES AND ANATOMY BUILDING, GOWER STREET, LONDON, WC1E 6BT

This event is organised together with the UCLU Georgian Society and the Georgian Embassy. If you wish to attend please email Keti Kalandadze on This email address is being protected from spambots. You need JavaScript enabled to view it. 

In Bloom (Grdzeli nateli dgheebi) Premiere on Curzon Home Cinema 8 April 2014

For the first time in the UK, Birds Eye View Film Festival brings you a festival Premiere to your home. The opening night and UK Premiere of the Georgian film IN BLOOM will also be available to watch on demand, screening online on the same day on Curzon Home Cinema, for one day only. This will happen on Tuesday 8th of April. 

This is an opportunity for people who don’t live in London to be able to watch the film and really hope it’s of interest to you and your community. If you can’t attend the physical screening, this is not a problem anymore. Get together with your friends or family and enjoy the film together, on the same night of the Premiere, from home!

About In Bloom: Tblisi, 1992: as civil war rages in the newly independent state, 14 year-old best friends Eka and Natia just want to talk gossip, music and boys. But as insecurity and fear overcome everyday life, their childhoods come to an abrupt halt in this multi-award-winning, semi-autobiographical drama. 

The film will be available to watch online from this page, visible from April 8th: http://www.curzoncinemas.com/film_on_demand/

Find out more about the event here and download a pdf

Sports News

Rugby World Cup 2015

… Georgia qualified on Saturday by beating Russia 36-10 in Tbilisi and will now fight out the top qualification slot with Romania.

Football EURO 2016

… highlights of the qualifying draw made on Sunday include the following (Group D):

Saturday 7 September 2014 Georgia v Republic of Ireland

Saturday 11 October 2014 Scotland v Georgia

Friday 4 September 2015 Georgia v Scotland

Monday 7 September 2015 Republic of Ireland v Georgia.

The other teams in the group are Germany, Poland and Gibraltar.

Georgia: Culture in the High Caucasus with Tony Anderson

19-28 September 2014 At the crossroads of Europe and Asia, Georgia is a country that lives up to its reputation as a wild frontier. The landscape is dominated by the beautiful High Caucasus  - a thrilling canvas for walkers and climbers, whilst the lush countryside of the lower valleys are wonderfully rich and colourful.

Join this cultural journey into the heart of Georgia with author and expert guide Tony Anderson.  Tony has long been interested in the Caucasus, writing Bread & Ashes, A Walk through the Mountains of Georgia; an exploration of the history and culture of Georgia, and editing ‘Conflict in the Caucasus’; an analysis of the forces at work in the build up to the Abkhaz conflict of 1992-1994. His soon to be published book ‘British Travellers to Georgia’ (Eland Press) is sure to be a must amongst all travellers alike. Having led many groups all over the country, Tony will undoubtedly enliven and enrich the tour with his knowledge and experience. 

For more information click here.

Georgian Language Classes at UCL with Keti Kalandadze

Keti Kalandadze will be teaching Georgian in the Bloomsbury Theatre Building, 15 Gordon Street, London, WC1 0AH, at UCL from the 24th September 2013. 

Classes will take place on:

Tuesday room 105 at 7.00pm, Wednesday room 105 at 7.00pm and Thursday room 204 at 7.30pm 

For further details contact Keti on 07525 437850 or email This email address is being protected from spambots. You need JavaScript enabled to view it.

Georgia's Judo Triumph

Georgia narrowly defeated Russia to win Gold in the men's team event in the recent World Judo Championships in Rio de Janeiro.

3rd London BGS Georgian Film Festival 2013 Home Page

The festival Home Page can be accessed here. The Facebook page here