Black abdullah

Abdullah, like Said , by the way, comes from a poor family, but on the wave of revolutionary transformations, when the old government is gone, but the new one has not come yet, he takes the initiative and becomes rich, respected by all. Heading the local criminal community, he develops active trading activities related to the carriage of goods by sea and the oil business. But with the advent of the Bolsheviks, he was forced to hide from them and constantly change his place of stay, since in the eyes of the new government he is an alien class element. It can be described as a resourceful, decisive, emotional, authoritarian man, and finally, just a beautiful man - a type that undoubtedly pleases many women. One way or another, but the criminal activity of his and his groupings comes to an end thanks to the skillful actions of the Red Army soldier Sukhov and his assistants. When he tries to beat off his harem, Abdullah gets a gunshot wound and falls off a storage tank, after which he shows no signs of life. Abdullah is a smart man who stands out sharply against the background of his rather tattered nukers : he is wearing a french rather than a chapan , smoking cigars.

The actor of theater and cinema Kakhi Kavsadze , who performed the role of Abdullah, characterized his character as follows:

I never considered Abdullah to be either a robber or a bandit. I played a man who defended his house, his traditions. He played a man without complexes, a man of his word. Yes, he has a harem. But who cares how many wives he has - ten or twenty-seven. After all, it is his wife, his family. And he follows his traditions harshly and to the end, defending the unwritten laws of his people. It seems to me that I am a little like my hero - only I have never used it in my life and, God forbid, I will never use a real weapon.

On his entry into the image during the filming of the film the actor said the following:

Abdullah’s gangsters were mainly played by local men, who decided to earn some extra money. People they were, to say the least, restless. After filming they often had a showdown. And every time they sent someone for me. I go up. They: "Quiet! Abdullah is coming! ”I was like a judge - I decided which of them was right, who was to blame. I made a sentence - and they immediately calmed down: “That's it, enough for a bazaar! As Abdullah said, so be it! ”

Vladimir Alexandrovich Medvedev, dean of the faculty of depth psychology at the St. Petersburg Institute of Psychology and Sexology, gives an exhaustive description of Abdulla’s personality. According to Medvedev, Abdullah is in fact the protagonist of the film, the bearer of the ideology of machismo , a tragic figure, doomed to a beautiful and painful death, from which we are invited to take some life lesson.

Abdullah is a warrior, a former smuggler, a romantic Nitschean hero . For him, there are no external restrictions, his legislation is formulated very simply: "The dagger is good for those who have it, and bad for those who do not have it at the right time." Under the bullets of red detachments, which at first glance is paradoxical, he is kept in this desert by a harem . Abdullah can not leave the harem, because then he will get to someone else. In fact, an archaic drama is played out in front of us, and Abdullah who kills women from his own harem is doomed to a painful death just like Stepan Razin , who throws a newfound young wife “in running waves”.

According to Medvedev, the authority of Abdullah is not based on his fighting qualities (some of the deceased Ibrahim, Mahmud and Aristarkh were worth something!), Namely, the presence of his harem, and only he has access to the ritualized response of sexuality in a culturally acceptable form. As an ancient forefather of the primitive horde, he personally owns all women and "pulls out the language", symbolically castrates the one who encroaches on his prerogatives. Abdullah quite animatedly enters into dialogue with the Red Army when it comes to his "gentle wives." Melancholic semi-philosophical conversations with Sayid about the relativity of the concepts of good and evil are replaced by a wild cry: “Kill him!”, One has only to encroach on one of the cisterns.

Abdulla survived the death of his father without a conflict, taking as a legacy from a dying old man a burden of humility and social anxiety oriented to the will of God. And God eventually helped Abdullah: “I waited a long time, and then God said: get on a horse and take everything you want yourself if you are brave and strong ...”. Whose voice spoke this God and whose interests he voiced we can understand if we pay attention to what exactly Abdullah wanted to take from life, going on the warpath. It turned out that he needed only three things - wealth, harem and a gang of companions.

Following Medvedev's description, Abdulla is a typical organic destructor, like a baby, trying to make the hostile outside world native and safe by objectifying all the libidinal connections available to him into the image of material wealth, bringing everything to a common denominator. He demonstrates his destructiveness for the time being, beating up his own wives (“Every day he beat someone ...” - his masochist, his wife, recalls with anguish). He perceives love in relation to a woman as a prelude to her death: “Jamila, you were a beloved wife ... Why did you not die?” - he needed his wives only to rally around himself a gang of marginal killers, and he needed a gang for further accumulation of wealth. But at the same time, Abdullah himself finds himself in a suicidal vicious circle: family life (and even in the polygamy mode that increases trauma) generates a powerful feeling of guilt, but escape from women is impossible, because then he will lose the status of the gang leader, and with the loss of status and his wealth. The insight condescended to Abdulla in the Old Fortress: if the situation cannot be changed, then you need to change yourself. It is necessary to get out from under the influence of the concepts of good and evil, good and bad, meaningless to him, to stop being a man (that is, a sinful being, fearing retribution and therefore social) and to become a beast - a ruthless destructor. The statement of this metamorphosis, put into the mouth of Rakhimov by the authors of the film, opens the theme of Abdullah in the picture being dismantled: “Black Abdulla has become completely brutalized - he does not regret his own, or others'.” In his own way, Abdullah loves his wives. Therefore, he, strangling two extra wives and bringing their total number to the sacred nine (the symbolic number of supermaneness is three triples), climbs into the pipe of the Old Fortress and is forced to go "anti-water" to Dry Creek. That is why, after killing the museum curator Lebedev, he is so thoughtful and archeologically savvy (he sees the presence of an underground passage that has not been used for the last four hundred years!), And after killing Gulchatay , he puts on a veil . Wearing the veil, Abdullah revealed a common characteristic feature of all destructors - their obsessive need to torture and kill other people in order to identify with them; that is, for a destructor, killing is the only manifestation of love. Moreover, only by constantly killing and raping, the destructor is able to exist ^[1] .

An employee of VGIK , film expert Marina Vadimovna Kuznetsova gives a feminine look at the image of Adbulla. In her opinion, Black Abdullah is the leader of the international gang of gangster trash, a seasoned, complete villain. A thin oriental face, an English service jacket and the living embodiment of snake treachery, bestial cruelty. He is not for white and not for red. He is for himself. The goal - robbery, robbery, profit. On the sands of Turkestan stretches behind Abdullah thick trail of blood. Abdullah, at close range, shoots the old man, the museum's keeper. Kills his wife, half-child Gyulchatai, changes clothes in her dress, bayonet slaughters Red Army soldier Petrukh, ruining two young lives and killing barely born love. According to Kuznetsova, the Soviet censorship ruthlessly removed from the film a scene in which liberated women of the East mourned with tears of their owner and common husband Abdulla Black, who was shot for the final by Sukhov. But this did not prevent the viewer from understanding the meaning of the plot anecdote about how the idea of ​​social equality was imposed on people whose consciousness was absolutely not ready for it ^[2] .

Soviet film director, screenwriter, Honored Artist of the RSFSR Alexander Veniaminovich Macheret notes that the leader of basmachs, Abdullah, is hopelessly mean. And yet, in spite of the undiluted blackness of his villainous nature, he does not lose his outlines - it is vitally possible, but very far from the everyday “norm” ^[3] .

As the writer Fyodor Razzakov notes, the initial episode of the final battle between Sukhov and Abdullah did not enter the picture. Sukhov and Abdullah tried to kill each other on the longboat, then fell into the water and continued the struggle there. In the battle, both were shot and wounded: but Sukhov was lightly wounded in the shoulder, and Abdullah was fatally. From the last forces the gangster swam to the shore, got to his feet and, staggering, went to Sukhov. However, Abdullah no longer has the strength to shoot: he did not reach just a few meters from his enemy and fell dead to the ground. But since Anatoly Kuznetsov, who played the role of Sukhov, having fallen off the barge, grabbed a log in the water that was smeared with fuel oil, he failed to do this, as a result, the actor almost drowned after the fight on the deck, and the episode was not succeeded. After this, the ending was rejected and the completion was removed, allowing Abdullah to appear in the hypothetical second part of the picture ^[4] .

* Judging by the fact that almost the entire film Abdullah walks in his jacket and does not part with his cigar, he rather actively collaborated with the British during the latter’s intervention in Central Asia.

• In the book of Valentin Yezhov and Rustam Ibragimbekov “The White Sun of the Desert” Abdullah fell in love with a Russian woman — the concubine of his master, whom he served as head of security. Also in the book, Abdullah deals with precious metals and stones. The scene of action is Afghanistan ^[5] .
• The image of Abdullah is captured on canvas by the photo artist Vasily Florensky in several of his works as part of the exhibition “Che Guevara Vostok” in 2004 ^[6]
• Despite the fact that at the end of the film, Abdullah falls from the oil storage facility, having received a gunshot wound, in 2001 there were reports of filming the continuation of the film. This is what Kakhi Kavsadze ^[7] reported on this matter:

- There is talk about the "White Sun of the Desert-2." How do you feel about this? And then what will happen to your hero?
- Yes, I was told about it. All the characters meet again after 30 years. Abdulla came out, and he survived. Sukhov, Abdullah, Said - all are alive, so you can continue shooting ... For some reason, I am against. Always these films-2 in some way certainly lose. “White Sun of the Desert” is a classic, film-2 will not be anymore. But, of course, if they start shooting, I will also be happy to join.