Tri istorii ( 1997 )

Tri Istorii (1997): A Tripartite Descent into Morality and Meaning

Kira Muratova's 1997 film, Tri Istorii (Three Stories), is a fascinating and unsettling exploration of morality, obsession, and the absurdity of human existence. Comprised of three distinct, yet thematically connected, short films, the work showcases Muratova's signature blend of dark humor, grotesque imagery, and philosophical inquiry. Each story presents a character driven by a singular, consuming desire, and the consequences of pursuing that desire, however seemingly innocuous, spiral into violence, madness, and ultimately, a questioning of the very nature of good and evil.

Tri Istorii is not a film for the faint of heart. Muratova’s deliberate use of exaggerated characters, stark visuals, and unsettling sound design creates a cinematic experience that is both captivating and deeply disturbing. The film’s power lies in its ability to force viewers to confront uncomfortable truths about human nature, the fragility of societal structures, and the subjective nature of morality.

A Breakdown of the Three Stories

The film is structured as an anthology, with each story offering a unique perspective on the overarching themes. Let's delve into each story individually:

Story 1: The Sexton

The first story, The Sexton (Ofitsiantka), focuses on Ofitsiantka (played with unsettling intensity by Sergei Popov), a seemingly ordinary gravedigger consumed by an unusual obsession: he wants to be cremated, but no crematorium exists in his town. This singular desire becomes the driving force of his life, leading him down a path of increasingly bizarre and morally questionable actions. He believes cremation will somehow purify him, offering a more dignified end than burial. His pursuit consumes him, overriding any sense of empathy or reason. He is willing to do anything, including manipulating and exploiting those around him, to achieve his goal.

The story highlights the absurdity of human desire and the lengths to which individuals will go to fulfill even the most peculiar needs. The Sexton's obsession becomes a microcosm of larger societal obsessions, questioning the values and beliefs that drive human behavior. The ending of the story, ambiguous as it is, leaves the viewer pondering the true cost of pursuing one's desires, regardless of the consequences.

Story 2: The Little Boy

The Little Boy (Malchik) centers around a young boy named Dimochka (Leonid Kushnir) who is tormented by the relentless barking of a neighbor's dog. The barking disrupts his sleep and his ability to concentrate, driving him to a state of near-madness. He attempts to silence the dog through various means, but his efforts are consistently thwarted. His frustration escalates, culminating in a desperate and ultimately tragic act. This section explores themes of childhood innocence corrupted by frustration and a desperate need for control over one's environment.

This story is perhaps the most disturbing of the three, as it depicts the loss of innocence and the descent into violence through the eyes of a child. The seemingly insignificant annoyance of a barking dog becomes a catalyst for a profound and irreversible act, highlighting the destructive potential that lies dormant within us all.

Story 3: Ophelia

The final story, Ophelia (Ofeliya), presents a complex and morally ambiguous scenario involving a group of people living in a dilapidated building. A wealthy woman, seemingly driven by altruism, proposes to help them improve their living conditions. However, her actions are motivated by a hidden agenda and a deep-seated desire for control. The story unfolds as a series of manipulations, betrayals, and ultimately, violence. It examines the complexities of human relationships, the corrupting influence of power, and the elusiveness of genuine altruism.

Ophelia delves into the darker aspects of human nature, revealing the layers of deception and self-interest that often lie beneath the surface of seemingly benevolent actions. The story highlights the dangers of unchecked power and the ease with which good intentions can be twisted and corrupted.

Thematic Connections and Recurring Motifs

While each story in Tri Istorii is self-contained, they are all interconnected by a number of recurring themes and motifs:

• Obsession: Each protagonist is consumed by a singular, often irrational, obsession that drives their actions and ultimately leads to their downfall.
• Morality: The film constantly questions the nature of morality, blurring the lines between right and wrong and forcing viewers to confront their own moral compass.
• Violence: Violence, both physical and psychological, is a recurring element throughout the film, highlighting the destructive potential of human nature.
• Absurdity: Muratova's use of dark humor and exaggerated characters underscores the absurdity of human existence and the often-meaningless nature of our actions.
• Power Dynamics: Each story explores the complex power dynamics between individuals and the ways in which power can be used to manipulate and control others.

These recurring themes create a cohesive and thought-provoking cinematic experience, prompting viewers to question their own assumptions about human nature and the world around them.

Muratova's Unique Cinematic Style

Kira Muratova's directorial style is highly distinctive and contributes significantly to the film's overall impact. Her use of:

• Deliberate Pacing: The film unfolds at a deliberate pace, allowing viewers to fully absorb the atmosphere and the nuances of each scene.
• Static Shots: Muratova frequently employs static shots, creating a sense of detachment and objectivity.
• Unconventional Framing: Her unconventional framing choices often create a sense of unease and disorientation.
• Repetitive Dialogue: The repetitive dialogue reinforces the characters' obsessions and anxieties.
• Grotesque Imagery: Muratova's use of grotesque imagery, such as close-ups of decaying objects and distorted faces, creates a visceral and unsettling experience.
• Sound Design: The film's sound design is particularly effective in creating a sense of unease and tension. The use of jarring sounds and dissonant music amplifies the disturbing nature of the events unfolding on screen.

These stylistic choices, combined with Muratova's masterful storytelling, create a cinematic experience that is both challenging and rewarding.

Reception and Legacy

Tri Istorii received mixed reviews upon its release, with some critics praising its originality and philosophical depth, while others found it to be disturbing and pretentious. However, the film has since gained a cult following and is now considered to be one of Muratova's most important works. It solidified her reputation as a daring and uncompromising filmmaker, unafraid to explore the darker aspects of human nature.

The film's enduring legacy lies in its ability to provoke thought and challenge viewers to confront uncomfortable truths about themselves and the world around them. It remains a powerful and relevant work of art, continuing to resonate with audiences decades after its initial release.

Characters in Tri Istorii

Key Themes in Each Story

Muratova's Directorial Style: Key Elements

Comparison of the Stories

Conclusion

Tri Istorii is a challenging and rewarding film that offers a profound exploration of morality, obsession, and the absurdity of human existence. Through its three distinct stories, Muratova presents a dark and unsettling vision of human nature, forcing viewers to confront uncomfortable truths about themselves and the world around them. Her unique cinematic style, characterized by deliberate pacing, static shots, and grotesque imagery, creates a visceral and thought-provoking experience that lingers long after the credits roll. Tri Istorii remains a testament to Muratova's genius and a powerful example of the potential of cinema to challenge, provoke, and ultimately, enlighten.