American Journal Of Philological Sciences
370
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue05 2025
PAGE NO.
370-374
10.37547/ajps/Volume05Issue05-99
National Idea Issues in Modern Filmodramaturgy (On
the Example of Erkin
A’zam’s Film Dramas
)
Askarov Dilmurod
Acting Associate Professor of the Tashkent Branch of the University of Business and Science, Ph.D., Uzbekistan
Received:
31 March 2025;
Accepted:
29 April 2025;
Published:
31 May 2025
Abstract:
This article examines the development of the field of film dramaturgy, the reflection of the issue of the
national idea in film dramaturgy. The work of Erkin A'zam in the field of film dramaturgy, the skill of incorporating
the national idea into the work are analyzed.
Keywords:
Art, cinema, dramaturgy, ideology, literature, talent, director.
Introduction:
Uzbek cinema has not been around for
long. However, during its almost century-long history,
Uzbek cinema has overcome great creative milestones
and produced such famous film directors as Nabi
Ganiyev, Sulaymon Khojayev, Komil Yormatov, Yoldosh
Azamov, Zohid Sobitov, Latif Fayziyev, Shuhrat
Abbosov. Almost each of these artists represents a
specific era in the history of Uzbek cinema. The best
films belonging to their work, in turn, are literal mirrors
of this era. It is no secret that, as in literary works,
cinema created during the Soviet era is not devoid of
the ideological influence of that era. It can even be said
that most of the films created from the 1920s to the
1990s, when Uzbek art cinema was born, were created
on the orders of the political and social system or under
the ideological influence of this system. Therefore, it is
natural that these films do not meet today's ideological
requirements.
But each work, whether it is a film or fiction, reflects
the lives of people of a certain era, the life of society at
a certain time. Therefore, it is absolutely not right to
completely abandon them, as was the case in the
1910s. These works reflect not only the appearance of
Uzbekistan in the 1920s-1980s, but also the life, labor
and struggle of people of that era. We also know and
love the artists who demonstrated their art in them
through these films. Therefore, it is inevitable that
these works will remain in the history of our cinema.
But with the turn of history, the times when communist
ideas were heard are behind us. If we recall today the
solemn party congresses that took place only twenty or
thirty years ago and the lofty words that were spoken
there, it becomes clear that all this was done to distract
the people, to keep them away from the unresolved
problems of life, and to warm their hearts with the
rosary of communism.
The current historical period, in which the process of
saying goodbye to the communist past and building a
new society - a civil society - is underway, also requires
major changes in the world of literature and art.
No matter how talented and brilliant the films created
in the recent past were, no matter how they were shot
by talented and brilliant film directors, these works
have fulfilled their mission. Today's society, today's
moviegoers need different films. The requirements
that today's society places on these works are that they
be imbued with a national idea.
This is the complete opposite of the abstract and
harmful process of internationalization. Because
internationalization leads to the loss of a person's
identity, to the deprivation of his national
characteristics. The national idea, on the other hand, is
aimed at ensuring that the signs and characteristics
that make up the national mentality of each people are
preserved from generation to generation, and
therefore, that art becomes a national phenomenon.
One of the national values, perhaps the first and most
important, which “has taken deep roots in the spiritual
life of the entire people and has become their spiritual
need and life demand,” is love for the Motherland. Love
American Journal Of Philological Sciences
371
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
for the Motherland is a characteristic inherent in all
peoples. All peoples love their Motherland, dream of its
prosperity and well-being, and act in this way. This has
risen to the level of national value among the Uzbek
people and, in general, among the peoples of the East.
Until now, no one knows of any Uzbek who left their
Motherland and sought a homeland elsewhere.
But in recent years, as material values have become
more important, as well as the ideas about personal
life, a stable life, and a happy future have become
clearer or have begun to change, the attitude towards
the Motherland has also changed. With the emergence
of companies and suspicious individuals involved in the
migration of citizens to other countries, some of our
compatriots have begun to move to the “paradise”
United States of America and dream of living in the lap
of prosperity and happiness. Now there are quite a few
of our compatriots who have changed their
Motherland.
The writer Erkin A'zam could not remain indifferent to
such unpleasant events that have been observed in the
life of our country in recent years. He wrote the
dramatic story "Joraqul from Jiydali" for the theater, in
which he set himself the task of describing the life of
people who consider the United States of America to
be the only paradise on earth and dream of going there
and living there, and what kind of "paradise" awaits
them.
This work was staged at the National Academic Drama
Theater of Uzbekistan under the name "Talvasa". The
state joint-stock agency "Uzbekkino", considering that
the issue raised in Erkin A'zam's work is of great social
importance, took measures to screen it before the
theater. The famous playwright and film playwright
Sharof Boshbekov wrote a screenplay called “Heaven is
the Rule” based on this play, and Ravil B
atyrov, one of
the old figures of Uzbek cinema, created a film of the
same name.
Before continuing the discussion about this film, it
should be mentioned that the talented Uzbek film
director Zulfiqar Musokov shot the film “Vatan” shortly
before the film “Heaven is the Rule”. It is worth noting
that “Vatan” occupies a special place among the films
created by Z. Musokov in recent years on various
topics.
In this film, Z. Musokov has risen to the level of an
accomplished artist who can skillfully find artistic
solutions to large and important social issues and
express them using film means. Unlike the heroes of
the film “Heaven is the Rule”, the hero of this film does
not dream of going to the United States of America, but
of visiting his homeland, Uzbekistan, from there. He
once, by the will of fate, went to America and spent
most of his life there, and now he is old.
However, it turns out that the reason for this hero's
desire to come to Uzbekistan was revenge on his friend
who had once betrayed him. This situation, although a
little, belittles the hero of the work before our eyes.
However, Z. Musokov, despite this, sought to create
the image of this hero in the film as a loyal son of his
Motherland, and, one might say, he succeeded in this.
There is an important point here. Cinema, unlike
fiction, is an art based on the image of action. If Z.
Musokov had not based the film on a strong dramatic
situation related to revenge, if he had not revealed not
only the social, but also the spiritual reasons for the
hero's departure to America, neither the work nor the
hero would have had such a great emotional impact.
That is why the betrayal of a former friend and his
blindness and disability as a result of such betrayals
bring a breath of fresh air to the work. The idea that the
world, whether we call it God, will never forgive
betrayal, scoundrels, and traits that humiliate human
honor, and that such people will certainly receive their
punishment, is not a trivial idea. Consequently, this
idea gives the work new artistic power. The hero of the
work justifies the fact that his departure abroad was
not due to his own betrayal, but to the betrayal and
dishonesty of his friend.
In other words, the work encourages us to look at our
compatriots who were forced to flee abroad under the
threat of massacre and repression during the years of
the despotic Soviet regime with a different perspective.
In this sense, the hero of the work rises to the level of
a large generalized image-character.
The factors that caused some of our compatriots to
emigrate to a foreign world, for example, to the United
States of America, and live there in the 90s of the 20th
century and the beginning of the 21st century cannot
be considered the same. However, it would not be
wrong to say that most of them are people whose sense
of respect for spiritual values has weakened, and who
live with material concerns. The film “Heaven is the
Rule”, based on the dramatic story of Erkin A’zam,
depicts people belonging to this second group and their
spiritual crises.
A
film should not be the product of the director’s
creativity alone. A film script is not a work of art that
any film director can just write down. It should not be
forgotten that the best works of famous Russian and
world film directors were created based on the scripts
of other film playwrights. If we look at the films created
in recent years and warmly received by both film critics
and moviegoers, it is clear that they are not “director’s
films”, but belong to the pens of professional writers
and film playwrights.
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
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2771-2273)
Despite the fact that in the 20th century Uzbek
literature there were such outstanding writers as
Oybek, Shaikhzoda, Abdulla Qahhor, Odil Yakubov,
Pirimqul Qodirov, Uzbek cinema could not effectively
use them. At that time, it was easy and convenient for
the leaders involved in film work to invite visiting
playwrights from Moscow, such as Vitkovich, Nagorny,
Ryabov, Makarov, and submit films based on their
scripts to the control of Moscow film censors. They did
not even think about the need to create national
playwrights.
It is gratifying that over the past twenty to thirty years,
Sharof Boshbekov has also fully developed as a
playwright. Erkin A'zam, Murod Muhammad Do'st, and
after them Yolqin To'ychiyev, Gafur Shermuhammad
and other writers joined him. It would not be wrong to
say that the creative work of Erkin A'zam, who knew
the national life, pains and concerns of the Uzbek
people well, and who also perfectly mastered the
specifics of cinematography, has led to the
rapprochement of Uzbek cinema with the life of the
people in recent years, and the introduction of
important issues and heroes of the present era into
Uzbek cinema.
In this sense, the film "Suv yoqalab", shot by film
director Jahongir Qosimov based on the script of Erkin
A'zam, deserves special attention.
After Uzbekistan gained independence, the main
attention of the country's leadership was focused on
the younger generation - the youth, who are the future
of Uzbekistan. This is historically based and the only
correct path. However, this direction in terms of
personnel is not without its subtleties. The fact is that
no matter what political and social eras the Uzbek
people have lived in, they have preserved their national
culture, including morality and ethics, like the apple of
their eye. The people have always raised their children
on the basis of this national culture, these moral and
ethical traditions.
That is why the qualities of patriotism, nationalism, and
self-sacrifice in adults formed during the Soviet era are
inevitable and unchanging. The aforementioned
Jorakul is a representative of this category of people.
However, we sometimes seem to forget those who
grew up during the Soviet era and served in various
spheres of life and are still serving despite their old age.
However, society should show due respect and honor
to these veterans of labor.
The hero of the film "Suv Yokalab" Bolta Mardon, who
once chaired a collective farm (kolkhoz), earned the
respect and attention of both the government and the
collective farm residents. During his presidency, he did
not take off the belt of justice from his waist, did not
think about his personal interests, and did not live a
little more than others. In this sense, he is the Uzbek
brother of the chairman of the collective farm, skillfully
created by M. Ulyanov in Saltykov's film "The
Chairman". In the film, we see Bolta Mardon, having
grown old or for some other reason removed from the
chairmanship, becoming an ordinary person.
The filmmakers focus on just one day in the life of Bolta
Mardon. On one of the first days after leaving work,
Bolta Mardon sees that his garden is in ruins due to lack
of water.
Here, Bolta Mardon, despite the fact that it is Saturday,
is holding the reins of his "poor horse covered with
sacks" in front of the gate. Seeing his face and hearing
his harsh words "Call now!", Sister Musallam, looking at
the people on the side that we cannot see, says: "Stay,
stay, you will be in trouble." His words were addressed
to Bolta Mardon's children, who had learned to live
freely during his presidency.
One of the children, who understood his father's
purpose, said that he would send five or six trucks of
water, meaning that neither you nor my brothers
would be bothered. Bolta Mardon's response to this
was: "Did your ancestors use trucks to transport water
to the garden?!", and earlier: "Look at the condition of
the garden, my son! The tree also has a soul, it curses,"
from his words, we first get a clear idea of what kind of
person he is.
On this day, Bolta Mardon sets off with his youngest
son to fetch water from Kulokbashi. Until he reaches his
destination, he meets and greets people of different
classes and ages in the village. The “snag” in
Kulokbashi, who “is a water collector”, “does not
escape from any trouble, has been imprisoned three
times”, “is a horse
-riding fool, and would not recognize
his father even if he came back from the dead”, as
people say, does not let Bolta Mardon get close to the
water at first. Orin Jaga, who has been using the value
of water in the village for his own benefit, behaves like
the mirab played by Obid Jalilov in the film “Nasriddin
Bukhara”... In short, Bolta Mardon’s journey from
Kulokbashi to fetch water from his homestead
constitutes the ideological content of the film. On this
path, he meets and communicates with villagers who
are completely different from each other, with
different destinies, different dreams, and different
sorrows. In this process, we get to know the various
sorrows of people in the Uzbek village. Bolta Mardon
appears before our eyes as a just man who has become
a balm for people's sorrows and who lifts the burden of
those who are in need. With his labor and kindness,
many arid gardens drink water. But he passes away
before the water reaches his farm.
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
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2771-2273)
In the image of Bolta Mardon, Erkin A'zam has skillfully
created the image of a wise and selfless leader who has
been somewhat forgotten by modern society, but who
embodies the best qualities of the Uzbek people.
A few years ago, a journalist asked the great Chingiz
Aitmatov: “Why haven’t you created a communist
image in any of your works? Do you have any intention
of creating such an image?” The writer replied: “If I had
the intention of creating a communist image, I would
have created him as a tragic hero.” The hero of Erkin
A’zam and the film “Suv Yokalab” in general is such a
tragic hero. He remains a shining example of faithful
service to the people and the homeland with his entire
life and even his death.
Since our society is now faced with the task of
educating the younger generation, or more precisely, a
well-rounded generation, it would be effective for
writers and artists to create images of people like Bolta
Mardon in the film “Suv Yokalab” and educate
young
people on the example of their selfless lives.
The national idea is not something that shackles the will
of the creator like the socialist realism method. We feel
that he dreams of creating many films of diverse genres
and themes, such as "Suv Yokalab", "Jannat Qadadir",
"Zabarjad", which have important ideological and social
thoughts and ideas at their core, and which serve to
educate
moviegoers,
especially
the
younger
generation, on the values of the independence era.
CONCLUSION
In general, Erkin A'zam took a different path in creating
this image. This image does not repeat the images of
other women created so far. "Suv Yoqalab" is one of the
mature films based on Erkin A'zam's work. The first
images show that the events of the film take place in
one of the mountain villages. The hero of the work,
Bolta Mardon, was the chairman of the collective farm
here for a long time. He saw both good and bad.
Thinking about the fate of children was also the reason
for Bolta Mardon's death. The former chairman is a true
father, a person who raised honesty and fairness. All
events and images in the film "Suv Yoqalab" are
connected to the main character. The conclusion is that
Erkin A'zam's dramatic works capture the urgent issues
of the time. They skillfully capture human experiences,
thoughts, joys and sorrows. These dramatic works
remain masterpieces of Uzbek literature and
dramaturgy.
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