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RESEARCH AND CHARACTER PROBLEMS IN UZBEK FILMS
(Using the example of films made in 2024)
Mukhayyo Mukhtorova,
Senior lecturer of UzSIAC,
Doctor of Philosophy in Art History (PhD)
Abstract:
This article presents analytical and critical reviews of Uzbek feature films filmed in
2024. The hero problem in today's films is analyzed in detail.
Keywords:
cinema, art, film, hero, director, actor, genre, viewer.
Аннотация:
В этой статье представлены аналитические и критические отзывы об
узбекских художественных фильмах, снятых в 2024 году. Проблема героя в сегодняшних
фильмах подробно анализируется.
Ключевые слова:
кино, искусство, фильм, герой, режиссёр, актёр, жанр, зритель.
If we recall that 130 years ago, the art of cinema penetrated the hearts of viewers through its first
screenings, in particular, on this very day, the first short films were shown in the world, then we
must not forget that during this long period, the art of cinema went through a complex path of
development. After all, the fact that the first films, ranging from just 3 episodes to 50 seconds,
are now 2-3 hours long, sometimes longer, indicates the most prominent image of the
development of cinema. One can talk for hours about the artistic and ideological aspects of
cinema, the development of its technical capabilities.
If we look at the history of the development of Uzbek cinema, it is true that it was formed and
developed through these complex and difficult stages, creating a unique direction, creating the
national image of today's Uzbek cinema and having national heroes.
Speaking about the art of Uzbek cinema, it is important to remember that the films filmed in
2024 and their artistic foundations reflect the influence on today's Uzbek cinema and Uzbek
viewers, their culture, and the worldview of today's Uzbek society.
First of all, if we talk about the achievements and joyful moments, in 2024 more than ten films
were shot on the basis of the state order, and the films that went on screen differed from previous
years in the diversity of themes, the desire to cover various genres, the expansion of technical
capabilities, and the greater involvement of young people in the art of cinema. It is known that in
previous years, the predominance of one theme or genre was noticeable. In 2024, the range of
topics has expanded significantly, and in turn, the names of new creators have also increased
significantly.
The films "Yalangto'sh Bahodir" (Jahongir Ahmedov) or "Mahtumquli Firog'iy" (Muzaffarkhon
Erkinov), shot as part of the "Living History" project, aroused great interest among viewers. As
is known, historical films have always interested viewers. Especially if it's about a person who
has become the pride of the Uzbek people. An attempt to elevate the personalities of well-known
and famous commanders, scholars, and poets who have performed many heroic deeds in history
to the level of a nation's image, and the filming of films about creators whose work is valued as a
universal heritage, is a positive phenomenon. It is the moral duty of every society to make films
about such people. Of course, well aware of this, the heads of government and filmmakers are
paying serious attention to this issue. It is worth noting the efforts in this regard.
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ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 02,2025
Journal:
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page 1338
However, the fact that there are several subtleties in filming such historical figures today
becomes apparent when the film is released. The positive aspect is that for young people who
have somewhat distanced themselves from today's book, detailed information about historical
figures, their accomplishments, their lives and activities, and creative work will be presented
"live" in a 2-3 hour film. In this regard, the directors' research and efforts certainly play an
important role. The film reveals the directors' collaboration with historians. It would not be an
exaggeration to say that in both films, the atmosphere of the time was reflected, in the costumes,
even in the dialect of the language.
Various opinions were expressed about the above-mentioned films, and each viewer has their
own opinion on this matter. However, based on artistic principles, one aspect of these films must
be firmly emphasized. Since it was about a great personality, all events had to be built around
him, and throughout the film's events, his dreams, struggles, heroism, crisis, sorrows, emotional
experiences, turmoil, determination, and the inner essence that held him as a personality had to
be revealed. Unfortunately, both the film "Yalangto'sh Bahodir" and "Maxtumquli Firog'iy"
lacked these aspects. In particular, we see brief battle episodes of Bahodir Yalangto'sh (actor
Habibullo Nizomov) at the beginning and end of the film. Then, wounded, he is portrayed in bed,
ill, until the end of the film. A natural question arises: is the film's protagonist Bahodir
Yalangto'sh, and if so, why does Bukhara Khan Nazir Muhammadxon (actor Behzod
Muhammadkarimov) come and solve all existing problems? The main problem in the film is
related to the issue of creating a character, which is especially emphasized in the artistic rules,
and the character in the film is not sufficiently revealed. After all, the main purpose of choosing
the athlete for this role was not to reveal the heroism of Bahodir Yalangto'sh through his
appearance and div, but simply to show him as a physically strong person.
While watching the film, another question arises. The son of Bahodir Yalangtosh - the son of the
"Samarkand Emir (!) " Boybek, after the assassination of his father, walks freely in the bazaar in
aristocratic attire without guards. This seems somewhat untrue, leading to speculation that the
emir's son might not have had personal guards, or if guards were given permission not to
separate or recognize him when he entered the crowd, then he should have dressed modestly like
ordinary people. Throughout the film, these considerations become even more firm, and
questions arise. After all, in the episode of Boybek's murder, 4 warriors standing next to him
watch the attack on Boybek. If they were special guards, why were they just spectators during
the attack on Boybek? If there were no divguards, why were they in Boybek's temporary
dormitory? Who was supposed to protect the Emir's son (!)?..
“In the film "Makhtumkuli Firogi," the image of the poet is taken as the main character, while
the fact that he is known throughout the country remains somewhat unclear. In the film, it creates
a conclusion for the viewer that this person's identity is simply "reminded" through ghazals. Also,
during the film viewing, Makhtumkuli's emotions and his role as a hero were not revealed. The
mimicry of actor Ahmed Amandurdiyev, who played this role, hardly works. This can be seen in
his facial expressions when his beloved married another person, or when his son died, and later
his wife died, or even when they tried to arrest him on false charges of being a thief, there was
no reflection of sorrow, anger, or any danger in their faces. The actor's facial expressions did not
serve to reveal the inner psyche of the hero in any of these situations.
Also, Makhtumkuli's popularity and the fact that all citizens of the country know him seems to
have become somewhat artificial. After all, when a friend he hadn't known for long said he was
ready to give his life for her, this became somewhat vague, after all, events worthy of giving
one's life for another person don't happen until this episode of the film. If viewers don't develop
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the spirit of rediscovering their personality after watching the film, like them, fighting for their
cause, then the question arises: to what extent has such a film fulfilled its role in society?
Regarding films filmed on contemporary themes, the 2020 film "Pandemic" (Talib Adamkulov)
about the coronavirus, which alarmed the entire world, also caused much discussion among
viewers. Although the film is about illness, it shows the spiritual level of society and the spiritual
image of people. The film reveals that a person's human image is measured by their spirituality.
The social significance of this film is enormous. On the one hand, it shows the courage of Uzbek
doctors who united in such a complex process and tried to deliver medicines to patients, even if
they refused them, and on the other hand, the film also reflects the attempts to export and sell
medicines, which showed that there were specific conflicts in these hospitals, thereby showing
the viewer some unknown truths. True, the film is not without its shortcomings, but in general
terms, there are characters in the film, and the events revolve around them.
Filmda qahramonlar va qahramonliklar oddiy va tabiiy holda ekranda aks etdi. Matyoqub
Matchonov, Tamara Mirmaqsudova, Aysanem Yusupova, Saidkomil Umarov ijro etgan
shifokorlar qahramon darajasiga olib chiqiladi. Albatta, rejissyor Abu Tolib Adamqulovga holat
yaqin o‘tmishda bo‘lganligi, voqealarni o‘z ko‘zi bilan ko‘rib, ishtirokchisi bo‘lganligi filmni
surata olishda bir muncha qulaylik tug‘dirgan bo‘lishi tabiiy. Buni hatto aktyorlar ijrosida ham
kuzatish mumkin. Albatta, film o‘zining vatanparvarlik, millatparvarlik, insonparvarlik g‘oyalari
bilan kishilarni o‘ziga jalb qiladi.
"Three Heroes" (director and screenplay. Shokhrukh Rasulov), it can be seen that the number of
films on contemporary themes is growing even more. It would not be an exaggeration to say that
this film was shot in the classic style of action films. After all, the film reflects the struggle
between good and evil, which everyone knows. It is not difficult to understand who the "three
heroes" are in the film's events. The trio of Ozod (Takuel Musilim), Uchqun (Shohruh
Hamdamov), Anvar (Sirojiddin Sattorov), and the heroism of this trio were brought to the screen.
The fact that the film openly shows the true purpose of various movements and gangs that exist
in society today calls on young people to be a little more vigilant. In particular, it is reflected that
it is common for people like Zafar Alimov to use young people, who cannot fully distinguish
between good and bad, who are entangled in various temporary problems in their lives, with
skillful psychological influence.
In this film, the director strives to show that in difficult situations, the characters face a choice
and experience difficult human and psychological states. In particular, Jamil (Ulugbek Kadyrov)
was one of such people who rose up against the government, blaming it for the death of his wife
and child during the pandemic. However, at the end of the film, as if realizing that his chosen
path was wrong, he takes control of the bomb-laden car and saves one person. This once again
demonstrates the idea put forward in the film - that human destiny is above all, that good always
prevails. However, during the viewing of this film, an imitation of some fragments of foreign
films is noticeable. After all, today the Uzbek viewer watches many foreign films on the Internet,
and in them, events similar to the above-mentioned films are often presented. The point is that
the stylistics of this film are identical to those foreign "boyevik" films. Nevertheless, we believe
that there are brave and courageous young men who are ready to sacrifice their lives for the
peace of our homeland, and promoting this in films will serve to form patriotic feelings in future
youth.
The film "House" (Jamshid Narzikulov) also strives to cover several aspects that are becoming a
big problem among young people today. However, the question of who the hero of the film is
remains open. The problems of a group of young people who have strayed from the path,
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embraced an easy life, and turned social networks into a part of their lives seem somewhat
exaggerated rather than truthful. Or it creates an impression as if it's taken from those foreign
films that are repeatedly mentioned. In the film, young people are played by non-professional
"actors" who are famous for various vines on Instagram and TikTok social networks, and it is
clearly noticeable that there is a lack of skill in the performance, and they try to express their
inner feelings with just shouting. True, the director might have wanted to call young people to
vigilance through this film, but the incorrectly chosen actors and exaggerated episodes in the
film, the abstractness of the character did not justify the goal set for this film.
The film "Sevdo" (Khilol Nasimov) is aimed at revealing the complex life of singers. The
concentration of professional actors in the film, the speed of the development of events, serves to
make it accessible to viewers. The singer Sevdo (Aysanem Yusupova) has two different
characters in the film. Firstly, she is portrayed as a very kind, open-hearted woman who grew up
in hardship, and secondly, she is portrayed as a woman accustomed to an easy life with words
and actions like "I am a lonely wolf." The idea put forward by the film is somewhat vague. What
does the director want to say to the audience through this film?.. The films "House" and "Sevdo"
can be called light films intended for viewers. They have a higher focus on recreation than
ideological heights... In particular, in these films, the fictional thoughts of the creators prevail.
For this reason, the events and circumstances were also created to reflect that thought. One can
dwell on them one by one and continue for a very long time. Everyone knows that the heroes of
a good work of art should act without the author's influence, their actions should be the product
of conflict, struggle... Unfortunately, this aspect is missing in these films.
It can be acknowledged that today's Uzbek filmmakers are achieving technical and
organizational success. Significant work is being carried out at the national level in this direction.
However, even with the examples of the films considered, it can be said that the whole issue
remains with their artistic side, in particular, the dramaturgical side. If the issue of the hero
remains a problem in films, if we don't attract professional playwrights to cinema, or if we don't
achieve the maturity and thoroughness of films in their screenplay state by adapting the best
modern works, then so many human actions and millions of funds will be wasted.
In conclusion, while acknowledging the achievements of today's Uzbek cinema, it can be said
that most films provide information, introduce, give pleasure, that is, they serve as a spectacle,
but do not force us to think deeply. We hope that among the films to be made in the coming
years, the number of films that will encourage us to look at ourselves, examine ourselves, take
life seriously, change, and strive for great ideas will increase.
List of used literature:
1. On additional measures for the development of the national film industry: Resolution of the
President of the Republic of Uzbekistan. - 2018. July 24 // National Database of Legislation.
- 2018. July 25. 1574.
2. Abulkasimova Kh., Teshabaev D., Mirzamukhamedova M. Cinema of Uzbekistan. - Tashkent:
Gafur Gulyam Publishing House of Literature and Art, 1985. - 286 p.
3. Karimova N. Acting Cinematography of Uzbekistan. - Tashkent: Publishing House of the
magazine "San'at," 2016. - 215 p.
4.
Mukhtorova M. National Flavour in Contemporary Uzbek Cinema Comedy //American
Journal of Social and Humanitarian Research. – 2021. – Т. 2. – №. 5. – С. 99-106.
