“Colored Old City in Cinematography” — Hokuma Agayeva
Fragment from the film “The Day Passed”
Author:
Hokuma Agayeva
Employee of the “Icherisheher” State Historical-Architectural Reserve
In Icherisheher, at every step, one encounters historical and cultural monuments from past eras. These include fortress structures, the Shirvanshahs’ Palace complex, the residence of the Baku Khans, baths, and caravanserais. Within the reserve’s territory, there are many monuments dating back to the Islamic period — the Juma Mosque, neighborhood mosques, and museum exhibits showcasing ancient artifacts. These exhibits are examples of material culture uncovered during archaeological excavations within Icherisheher.
The newly opened “Tolerance Museum” in Icherisheher is also part of this panorama, symbolizing the Azerbaijani people’s tolerance and endurance toward other peoples and religions. Icherisheher, a masterpiece of medieval urban planning, also incorporates cultural and architectural elements from the early 20th century.
For this reason, Icherisheher has attracted the attention of renowned film directors, who have often chosen Baku as the center for their film productions. The walls of Icherisheher were first captured in the Azerbaijani documentary film “A Public Walk in the City Garden”, which is considered the earliest example of Azerbaijani documentary cinema.
In the early days of world cinematography, a photo-club was established in Baku under the leadership of Russian photographer, film director, journalist, editor, and publisher Aleksandr Mishon. On March 31, 1898, he organized a walk in Mikhailov (Governor’s) Garden and filmed the event. The proceeds from this screening were intended for charity.
During the Soviet era, Icherisheher became the “hero” of numerous documentary and popular science films directed by A. Alekberov, G. Hasanov, N. Rzayev, T. Mirzayev, J. Hasanov, N. Bekirzade, and others.
However, the real cinematic life of Icherisheher began in 1924 with the film “Maiden Tower,” based on Azerbaijani folk legends related to the ancient city. Since then, Icherisheher has served as the filming location for many movies. Through these films, audiences not only in the Soviet Union but worldwide became acquainted with Baku and grew fond of it. Baku residents, especially the inhabitants of Icherisheher, greatly enjoyed watching the filming process because at times the fortress transformed into an exotic Eastern city, other times into Latin America, or a site for historical dramas.
In the narrow, ancient streets, characters like Don Quixote and Sancho Panza once strolled, from the film “Dulcinea Tobosskaya.” In the lyrical comedy “Legal Marriage,” famous Russian actors Natalya Belokhvostikova and Igor Kostolevski starred. They guided their fellow actors, who were visiting Baku for the first time, through Icherisheher, as they had mastered its labyrinthine streets during the filming of the well-known Soviet-Swedish-French film “Tehran-43” in 1979–1980.
It was here, in Icherisheher, that director Arif Babayev was born and filmed his famous movies “The Last Night of Childhood” and “The Day Passed,” capturing the atmosphere of this unique example of medieval urban planning.
Another “old city resident,” director M. Mikayilov, even after losing his sight, appeared in an episodic role in the adventure film “Winds Blow in Baku,” staged by M. Dadashov and filmed in his apartment in Icherisheher.
Fragment from the film “Tehran-43”
The Old City (Icherisheher) served as the filming location for the movies “Arshin Mal Alan” and “If Not That One, Then This One,” based on the operettas of the prominent Azerbaijani composer Uzeyir Hajibeyov. The film Arshin Mal Alan was screened in 136 countries and dubbed into 86 languages, including Chinese. The film was greatly admired by Mao Zedong, who ordered the production of a Chinese version titled “Love Under the Quilt” (as the Chinese called the veil a “quilt”).
The plot of the film “If Not That One, Then This One” takes place in Baku in 1910. Mashadi Ibad, a wealthy food merchant and an elderly widower, wishes to marry Gulnaz, the young daughter of a bankrupt nobleman who lost his wealth playing cards. However, Gulnaz is in love with a student named Server. Mashadi Ibad tries various methods to achieve his goal: he hires intermediaries and manipulates people, but in the end, Gulnaz, who fails to become engaged, marries her servant instead.
The character of the Guard Soldier (Qoçu Əsgər) in the film was modeled after a famous guard named Najafqulu of that era. Some scenes caused dissatisfaction among his relatives, for example, the scene where the guard exits the bathhouse.
In one scene, actress Munavvar Kalantarli listens in from behind a door to a conversation between Server and Mashadi Ibad. During another scene, when Server receives a letter refusing to marry Gulchöhrä and leaves the room, Munavvar Kalantarli suddenly opens the door, falls, and breaks one of her fingers — her ring finger. However, this was only discovered by the film crew later.
One of the film’s shooting locations was the Small Caravanserai. In fact, a guest truly fell at the entrance, and this episode was kept in the final cut of the film.
The famous Baku native Yuli Gusman shot several scenes in Icherisheher for the film “Don’t Be Afraid, I’m With You!” The film immediately gained popularity among audiences throughout the Soviet Union and remained beloved for many years. Three decades later, Gusman made the sequel — “Don’t Be Afraid, I’m With You! 1919.”
“Amphibian Man” is a Soviet film based on the eponymous science-fiction novel by Aleksandr Belyayev. Directed by Vladimir Chebotarov and Gennady Kazansky, the film became the box office leader just one day after its 1962 premiere.
The sea scenes were filmed in Crimea, while the scenes set in a foreign port city were shot in Baku. The ancient streets of Icherisheher were transformed into distant Buenos Aires, and near the Maiden Tower, a “Philips” logo was hung — thus turning Baku into a “foreign country.”
At the premiere held at the Rossiya cinema, the interest in the film was so high that people stood in the aisles to watch it. Unlike the audience, critics initially gave the film harsh negative reviews. Attitudes changed only after it won one of the main awards at the Trieste Film Festival.
The scenes of the foreign port city — depicted as Buenos Aires in the story — were filmed in Baku’s Icherisheher (later, scenes for another foreign port city, Istanbul, would be filmed in this area for the movie “Diamond Arm”).
The scene of Ixtiandr diving into the pool was filmed in Icherisheher, near the Museum of Magsud Ibrahimbayov (by the Great Fortress Walls).
“Aybolit-66” is a beloved film for all Soviet children, shot in 1966 in Baku by director Rolan Bykov. The Azerbaijani capital becomes the lair of the evil Barmaley, and it is here that the kind-hearted doctor Aybolit comes to save the children. The film was made in an unusual style: the directors did not hide the film crew’s presence; actors often appear to leave the frame by accident, and the frame sometimes takes on a rhombus shape. This eccentric comedy includes many interesting moments, such as the robbers singing even underwater. The red leather Barmaley costume was designed and made by Rolan Bykov himself. This costume almost became a tragedy for him. In the scene where Doctor Aybolit’s ship is captured, Barmaley falls from the ship. When Bykov jumped into the water, the costume immediately soaked up water, became very heavy, and dragged him to the bottom of the sea. In 1969, at the III Caucasus and Ukrainian Republics Film Festival, the film was awarded Best Film for Children and Youth. At the same time, actor Anvar Hasanov and composer Polad Bulbuloglu received diplomas for Best Musical Arrangement in the film.
Fragment from the film “Aybolit-66”
“The Last Night of Childhood” — a feature film by Azerbaijani director Arif Babaev, was made in 1968 at the “Azerbaijanfilm” studio. The film is based on the motifs of the story of the same name by Maksud Ibrahimbeyov. The film premiere took place on January 26, 1970, in Moscow. Many actors participated in the film, including Anvar Qasanov, Siyavush Shafiyev, Megi Kejardze, Yusif Valiyev, and others.
When discussing our cinema, the focus is usually on the main actors’ performances, directing, and screenplay, but actors who add bright colors to films even in episodic roles are often forgotten. One of them was Törehanım Zeynalova, who played the role of a kind grandmother. Törehanım Zeynalova was a native of Baku, born in 1895 in Icherisheher. In all her films, she portrayed a grandmother character typical of the Azerbaijani mentality. Her roles radiated warmth, kindness, and compassion. In 1968, at the age of 73, she acted in the film The Last Night of Childhood. The phrase from the film, “I kept an apple for my child, let me see where I put it, oh God”, became popular among the people and is still beloved. Törehanım Zeynalova’s last role was at age 77 in Tofiq Tagizade’s film “Flamingo” (Golden Goose). Although audiences always saw her as a grandmother, her first role was way back in 1938 in Viktor Tyurin’s film “People of Baku”.
People’s Artist, director Vasif Babaev (brother of Arif Babaev) recalls:
“Törexanım was our neighbor in Icherisheher; everyone loved and respected her. She was very religious, kind, and sincere. She always helped neighbors and advised young people. She liked to sit in front of her house playing with counters. On the film set, she always created a very warm atmosphere; everyone was happy when she arrived and took care of her. Communicating with her was a great pleasure. She was a true Azerbaijani grandmother. During the filming of The Last Night of Childhood, her hearing was poor and it shows on the screen, which helped make the film look natural. She treated everyone with motherly care, she was not acting — she was living the role. During the most exciting moments of filming, sometimes she forgot her lines, and the process would stop; she would ask the director: ‘Arif, son, what should I say now?’ But it was very sweet! Törexanım treated my brother not as a director but as a neighbor. During filming, she was very sincere, as if it were ordinary life and she really believed in what was happening.”
People’s Artist, actor Anvar Qasanov, who played Törehanım’s grandson Murad in The Last Night of Childhood, said:
“There is a scene where the grandmother is praying, and my character reacts ironically. When that scene was filmed, Törexanım really was praying and immersed in her magical world. We performed that scene without improvisation, just as the director said. During breaks, we often gathered around her, and she told us interesting and funny stories from the past.”
“The Diamond Arm”
For two weeks, the capital of Azerbaijan was transformed into Istanbul, Turkey, to film the foreign scenes. The ancient streets of Baku still remind one of the film’s shots: for example, behind one door, the hero Qorbunov falls into the trap of a passionate beauty; a street later, he falls to the ground with the famous shout “Damn the devil!” The film was watched by more than 76 million people. It took first place both in cinemas and in the hearts of viewers. The Diamond Arm is one of the top three films in the history of Soviet film distribution — only the comedies Pirates of the 20th Century and Moscow Does Not Believe in Tears have outperformed it.
One of the most famous comedy scenes — Yuri Nikulin’s character Semyon Semyonovich Gorbunkov falling in front of the Apotheke Chikanuk pharmacy and shouting the famous phrase “Damn the devil!” — was filmed on Malaya Gala Street and has become a popular tourist attraction.
The scene of falling on a watermelon rind took a lot of time to shoot because the fall did not look natural. For this reason, the scene was performed by another actor — Leonid Kanevski — and his performance succeeded on the first take. Therefore, only his feet are seen on screen.
At the end of the film, Yuri Nikulin’s character receives a strong blow to the head from a crane hook. This was not a stunt, but happened completely by accident — the actor was seriously injured, and filming had to be stopped.
Forty-nine years later, a restaurant named “The Diamond Arm” was opened in the building of that same pharmacy. Now tourists come not only to see the famous “Apteka” on the street but also to enter, eat, and take pictures
A fragment from the film “The Diamond Arm”
“Tehran-43” is a joint production by the USSR, France, Switzerland, and Spain. During the Tehran Conference in World War II, a plot is devised to assassinate the leaders of the Allied powers—Joseph Stalin, Franklin Roosevelt, and Winston Churchill. However, the main events of the film take place long after this attempted assassination. The direct participants in those events—even their children—relive the past, but these memories do not lead to happy endings for everyone.
This detective film, starring Natalya Belokhvostikova and Alain Delon, was released in 1980 and caused a great stir. Some scenes of the film were shot in Baku, as the city’s old architecture resembled the homes of Tehran.
The primary shooting locations were in the ancient part of Icherisheher (the Old City) and also in Gala village on the Absheron Peninsula. Filming took place in Maiden Tower Square, near the Juma Mosque, on Hagigat Rzayeva and Asaf Zeynalli streets, at the Mugham Club, in Gani Mammadov’s house, and other locations.
The main roles were played not only by famous Soviet actors like Igor Kostolevsky and Natalya Belokhvostikova, but also by international stars such as Alain Delon, Curd Jürgens, Claude Jade, Michel (Mike) Marshall, Georges Géret, and others.
Igor Kostolevsky recalls:
“What stayed with me most were the night shoots in Icherisheher. Believe it or not, every time I appeared in front of the camera, I felt an involuntary sense of fear—darkness all around, vague shadows in the distance, strange creaking sounds coming from a nearby door…
Although my character, the intelligence officer Andrei Borodin, wasn’t a coward and carried a weapon, and although I clearly understood that just beyond the set lay a vibrant, modern city full of good people and sincere friends, that eerie feeling never left me.”
The film “Shared Bread” premiered in 1971 in Moscow and was also filmed in Icherisheher (the Old City of Baku). The story unfolds at the end of the Great Patriotic War (World War II) and follows a teenager named Vagif, who is left alone for several days and loses his bread ration cards. During this difficult time, his friends stand by him, ready to share even their last slice of bread.
This film, which depicts the lives of Baku residents during the years 1941–1945, earned its screenwriter Alla Akhundova the State Prize of the Azerbaijan SSR. The film has since become part of the Golden Fund of Azerbaijani cinema.
Residents of the city actively participated in the filming. It can be said that they spent almost all their time alongside the actors—drinking tea, sharing bread…
A fragment from the film “Shared Bread”
“The Telephone Operator Girl” is a feature film based on a screenplay by Isidor Annenkin, adapted from a story of the same name by Soviet writer and film director Huseyn Seyidzadeh. The film portrays the working life, love, and dreams of a young girl who has gone through personal tragedy and hardship. She finds the strength to overcome all difficulties and start a new life.
The role of the young telephone operator Mehri was played by 18-year-old Ukrainian actress Raisa Stepanovna Nedashkonskaya. She once recalled:
“In an Azerbaijani newspaper, I was introduced as ‘The Daughter of the Azerbaijani People.’”
After filming was completed, she left early from her hotel to participate in a reshoot of one final scene. After it was filmed, she headed straight to the airport. Later, friends told her that a kidnapping had allegedly been planned.
In 1979, she met the National Leader of Azerbaijan, Heydar Aliyev, during a reception held in honor of a Ukrainian art delegation. At that event, the national leader gave a toast celebrating the friendship and cultural cooperation between the Azerbaijani and Ukrainian peoples.
On February 12, 1971, Arif Babayev’s film “The Day Passed” (Gün keçdi) premiered. It was based on a story by Anar Rzayev. This film became part of the “Golden Fund” of Azerbaijani cinema and remains beloved by audiences to this day. The song “One Evening from the Taxi…”, performed by People’s Artist of Azerbaijan Flora Karimova, is still a hit today.
A fragment from the film “The Telephone Operator Girl”
This film, rich in melodrama and dramatic elements, tells the story of enduring love. The plot centers around two protagonists – Ogtay (played by Qasım Məmmədov) and Asmar (played by Leyla Shikhlinskaya). They reminisce about their first love during youth but realize, upon meeting again many years later in Baku, that it is impossible to live in the past. The film was not based entirely on the original story; Anar Rzayev had to make several changes to the script. Notably, Qasım Məmmədov refused to perform the final scene in which Ogtay invites Leyla to his home. He gave the director an ultimatum – either the script would be changed or he would leave the production. Despite efforts to persuade him, he stood firm. Leyla Shikhlinskaya did not intervene in the matter. Director Arif Babaev discussed the issue with Anar Rzayev, and they agreed to make changes.
By preserving the sincere and pure nature of youthful love and avoiding explicit romantic scenes, the film maintained the naturalness of the characters’ lifelong feelings. At the same time, the existing cultural climate and mentality helped uphold traditional family values. This is one of the reasons the film became beloved by a wide audience.
The film was shot in downtown Baku, the historic district of Icherisheher (Inner City), and at the Jafar Jabbarly Film Studio. Arif Babaev greatly enjoyed filming in real locations. For example, the dialogue between Ogtay and Asmar was filmed at a café near the National Drama Theatre. The wedding scene between Jamal and Asmar was filmed in Icherisheher, near the Palace of the Shirvanshahs.
Baku’s first underground pedestrian crossing stretched from the “Azerbaijan” cinema to the Boulevard. It was here that Asmar’s “classic” scene was filmed. The lovers’ conversation scene was also shot on the stairs of this underpass.
It is known that Arif Babaev himself was from Icherisheher and loved the old city deeply. During that time, there were plans to modernize the historic district, which risked stripping it of its unique character. The film highlighted this issue – the dilemma of “demolish or preserve” – and both Babaev and Rzayev played a key role in advocating for the preservation of Icherisheher’s original appearance. The issue received widespread attention in the media, appearing in both documentary and feature films.
The film’s protagonist is actually modeled after director Arif Babaev himself. The love of his life was Nina Yarovaya, one of the founders of Russian-language television journalism in Azerbaijan, who worked in the same editorial office at Azerbaijan State Television. As she was married, they were never able to reunite.
In October 2012, with support from the Icherisheher State Historical-Architectural Reserve, the “Three Stories” project was launched. The initiative aimed to support young Azerbaijani filmmakers, provide them with opportunities to showcase their talent, and increase interest in their work.
Three young directors participated in the project and were supported throughout all stages of production – from screenplay writing to editing. The project also included masterclasses in directing and screenwriting by Vitaly Kanevsky, a Golden Camera award winner. The project concluded successfully, and by the end of 2013, the films “Scar” (by T. Hajiyev), “Letter to God” (by M. Ibrahimova), and “Old Baku Is Not Dead” (by M. Abiyev) were presented to audiences.
The narrow streets, unique courtyards, bathhouses, mosques, and caravanserais of ancient Baku are places that preserve the memory of centuries and have become popular filming locations for many well-known films and TV programs. To preserve this valuable tradition, the Icherisheher Reserve has created favorable conditions for young artists to shoot films in the Icherisheher and Qala districts under the “Living History” concept.
It is worth noting that one of the project’s participants, director Teymur Hajiyev, had his film “Scar” included in the competition program of the 2014 Palm Springs International ShortFest, one of the most prestigious short film festivals in the United States. The films produced within the project also attracted attention from international media and publications. The Washington Post, one of the most influential newspapers in the U.S., expressed special interest in Ibrahimova’s work and her film “Letter to God.”
In 2016, the British film “Ali and Nino”, which garnered international acclaim, also shot scenes in Icherisheher. Based on the world-famous novel of the same name by Kurban Said, the film tells the story of Azerbaijan’s struggle for independence in the early 20th century and the love between two young people of different religious backgrounds.
The executive producer of “Ali and Nino” is Leyla Aliyeva, Vice-President of the Heydar Aliyev Foundation. The producer is Kris Thykier, the director is BAFTA award-winner Asif Kapadia, and the screenwriter is Academy Award winner Christopher Hampton.
Fragment from the film “Əli və Nino”
During the Soviet era, Azerbaijan — often referred to as a “dream factory” by many filmmakers — consistently attracted the attention of prominent figures in the cinema industry.
They saw our country as mysterious, colorful, and “foreign.” İçərişəhər (the Old City), the Caspian Sea, and Gobustan became favorite filming locations for many directors. These filmmakers aimed to transform the streets of Baku into those of Tehran, Istanbul, Argentina, or any other magical city. Baku skillfully portrayed the East, Latin America, and even warm African countries. Many masterpieces of the Soviet era were filmed precisely in the old parts of the city.
One can only admire the filmography of İçərişəhər:
«Arşın mal alan» (1945),
«Savur-mogila» (1926),
«O olmasın, bu olsun» (1956),
«Uzaq sahillərdə» (1958),
«Onu bağışlamaq olarmı?» (1959),
«Amfibiya adam» (1961),
«Qara qartal» (1962),
«Sehrli xalat» (1964),
«Arşın mal alan» (1965),
«Aybolit-66» (1966),
«Brilyant əl» (1968),
«Uşaqlığın son gecəsi» (1968),
«Şərikli Çörək » (1969),
«Mənim sevimli atam» (1970),
«Sevil» film-operası (1970),
«Gün keçdi» (1971),
«Это сладкое слово – свобода» (1972),
«Bakıda küləklər əsir» (1974),
«Страницы жизни» (1974),
«Бухта радости» (1977),
«Ночь над Чили» (1977),
«Babək» (1979),
«Tehran-43» (1980),
«Дульсинея Тобосская» (1980),
«İsmayıl bəyin sandığı» («Qaladan Sandıq») (1982),
«Похититель поневоле» (1983),
«Легенда о Сурамской крепости»(1984),
«Законный брак» (1985),
«Другая жизнь» (1987),
«Ölsəm bağışla» (1989),
«Yarasa» (1995),
«И целого мира мало» (1999),
«Дронго» (2002),
«Qorxma, mən səninləyəm! 1919.» (2011),
«Əli və Nino» (2016) və başqaları.
