{"id":197773,"date":"2026-05-08T18:26:13","date_gmt":"2026-05-08T18:26:13","guid":{"rendered":"https:\/\/www.europesays.com\/lv\/197773\/"},"modified":"2026-05-08T18:26:13","modified_gmt":"2026-05-08T18:26:13","slug":"mildas-istaba-skaista-un-neerta","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/lv\/197773\/","title":{"rendered":"\u201eMildas istaba\u201d. Skaist\u0101 un ne\u0113rt\u0101"},"content":{"rendered":"

\"\u201eMildas<\/p>\n

Ir gandar\u012bjums redz\u0113t, ka sievie\u0161u v\u0113sture Latvij\u0101 k\u013c\u016bst arvien bl\u012bv\u0101ka, p\u0101rliecino\u0161\u0101ka un publiski dzirdam\u0101ka. Milda Pal\u0113vi\u010da vairs nav tikai profils filozofijas v\u0113stur\u0113 vai k\u0101rt\u0113jais piem\u0113rs tam, cik viegli patriarh\u0101l\u0101 kult\u016bra pratusi aizb\u012bd\u012bt perif\u0113rij\u0101 sievietes intelektu\u0101lo talantu.<\/p>\n

V\u0113sturisk\u0101 netaisn\u012bba saist\u012bb\u0101 ar Mildu Pal\u0113vi\u010du p\u0113d\u0113j\u0101 piecgad\u0113 tikusi labota vair\u0101kos sl\u0101\u0146os vienlaikus \u2013 mums atdots vi\u0146as intelektu\u0101lais mantojums, 2021. gad\u0101 public\u0113jot aptuveni se\u0161desmit gadus neizdoto p\u0113t\u012bjumu Est\u0113tisk\u0101s domas att\u012bst\u012bba Latvij\u0101, ar\u012b vi\u0146as dienasgr\u0101matu izdo\u0161ana vienlaikus ar \u0161o p\u0113t\u012bjumu ir reta un milz\u012bga d\u0101vana m\u016bsu kult\u016bras atmi\u0146ai, un tagad \u0161ai atg\u016b\u0161anai pievienojas ar\u012b Krist\u012bnes \u017delves filma. Tas ir svar\u012bgi ne tikai t\u0101p\u0113c, ka \u201cbeidzot ar\u012b sievietei iedota istaba\u201d. K\u0101 atg\u0101din\u0101jusi sievie\u0161u v\u0113stures teor\u0113ti\u0137e Gerda Lerner, sievie\u0161u v\u0113sture ir sievie\u0161u ties\u012bbas un neaizst\u0101jams mantojums, no kura smelties drosmi un redz\u0113jumu. Tie\u0161i t\u0101, drosmi! Kur\u0101\u017e, Milda, kur\u0101\u017e!<\/p>\n

Krist\u012bnes \u017delves Mildas istaba s\u0101kas k\u0101 filma par pirmo promov\u0113to filozofijas doktori Latvij\u0101, bet diezgan \u0101tri k\u013c\u016bst skaidrs, ka t\u0101 neb\u016bs ne tradicion\u0101la biogr\u0101fija, ne paklaus\u012bga \u201caizmirst\u0101s izcil\u012bbas\u201d piemi\u0146as lente. \u017delvi neinteres\u0113 uzb\u016bv\u0113t Mildai Pal\u0113vi\u010dai pieminekli. Vi\u0146u interes\u0113 istaba. Vieta, kur\u0101 sieviete dom\u0101, raksta, m\u0101c\u0101s, m\u012bl, vaino sevi, nesp\u0113j pastr\u0101d\u0101t, atkal m\u0113\u0123ina sa\u0146emties, atkal raksta. Un ar\u012b vietas, kur\u0101s vi\u0146u ievieto citi, \u2013 skola, virtuve, pal\u0101ta, kapli\u010da, bibliot\u0113ka, instit\u016bcija, arh\u012bvs.\u00a0<\/p>\n

\n

Scen\u0101rijs \u013coti apzin\u0101ti p\u0101rv\u0113r\u0161 Mildas biogr\u0101fiju par atz\u012b\u0161anas \/ neatz\u012b\u0161anas dramatur\u0123iju.<\/p>\n<\/blockquote>\n

Tas s\u0101kotn\u0113ji var izskat\u012bties k\u0101 st\u0101sts par izcilu sievieti, bet beig\u0101s k\u013c\u016bst skaidrs, ka centr\u0101 ir jaut\u0101jums, k\u0101 sabiedr\u012bba un instit\u016bcijas vi\u0146u redz\u0113ja, pie\u013c\u0101va, ierobe\u017eoja, neatzina un p\u0113c tam da\u013c\u0113ji izdz\u0113sa.\u00a0Scen\u0101rij\u0101 ir ar\u012b j\u016btama m\u0101kslinieciskas p\u0113tniec\u012bbas lo\u0123ika. Kas notiek, ja dienasgr\u0101matu, arh\u012bvu, \u0137ermeni, sievietes sadz\u012bves darbu un akad\u0113misku vardarb\u012bbu saliek vien\u0101 telp\u0101?<\/p>\n

Sievie\u0161u ierakst\u012b\u0161ana v\u0113stur\u0113 maina pa\u0161u priek\u0161statu par to, ko uzskat\u0101m par v\u0113sturiski noz\u012bm\u012bgu. Tie\u0161i t\u0101p\u0113c Mildas istaba \u0161\u0137iet tik vajadz\u012bga, jo nevis vienk\u0101r\u0161i pievieno vienu v\u0101rdu kanonam, bet ar\u012b jaut\u0101, k\u0101 visp\u0101r iesp\u0113jams film\u0113t sievietes intelektu\u0101lo tap\u0161anu un profesion\u0101lo dz\u012bvi. \u017delvei \u0161\u012b nav sve\u0161a teritorija, vi\u0146a jau iepriek\u0161 piev\u0113rsusies sievie\u0161u st\u0101stiem, tostarp film\u0101 M\u0113rijas ce\u013cojums<\/a> (2018), kas velt\u012bta M\u0113rijai Gr\u012bnbergai jaun\u0101kajai. Tie\u0161i t\u0101p\u0113c Mildas istaba \u0161\u0137iet k\u0101 lo\u0123isks turpin\u0101jums, bet ar\u012b sare\u017e\u0123\u012bt\u0101ks gad\u012bjums. M\u0113rijas ce\u013cojum\u0101 sievietes varon\u012bba bija sasaist\u012bta ar redzamu, v\u0113sturiski dramatisku r\u012bc\u012bbu \u2013 gl\u0101bt, vest, pasarg\u0101t, atvest atpaka\u013c \u2013, bet Mildas Pal\u0113vi\u010das st\u0101sts ir daudz gr\u016bt\u0101k film\u0113jams.
Mildas dz\u012bve pati par sevi b\u016btu \u201cliel\u0101 biogr\u0101fisk\u0101 filma\u201d \u2013 skolniece vien\u0101 no elit\u0101r\u0101kaj\u0101m latvie\u0161u meite\u0146u \u0123imn\u0101zij\u0101m, revol\u016bcija, arests, Butirku cietums, tiesa Maskav\u0101, emigr\u0101cija uz V\u012bni un \u017den\u0113vu, Strasb\u016bra, It\u0101lija, Sorbonna, laul\u012bba ar biju\u0161o skolot\u0101ju, rakstnieku Falliju, b\u0113rni, \u0161\u0137ir\u0161an\u0101s, Par\u012bze kara laik\u0101, emigrantu ce\u013c\u0161 caur Skandin\u0101viju un Krieviju uz T\u0101lajiem Austrumiem, Vladivostoka, otr\u0101 laul\u012bba, atgrie\u0161an\u0101s Latvij\u0101, doktora gr\u0101ds Sorbonn\u0101, u.t.t. Tas ir \u0101rk\u0101rt\u012bgi kinematogr\u0101fisks materi\u0101ls. Ta\u010du \u017delve no \u0161\u012bs dz\u012bves izv\u0113las da\u017eus mezglus un p\u0101rv\u0113r\u0161 tos telp\u0101s \u2013 klase, istaba, darbistaba, pal\u0101ta, bibliot\u0113ka. Tas ir apzin\u0101ts scen\u0101rija l\u0113mums.\u00a0Varb\u016bt nedaudz ar\u012b zaud\u0113jums, jo skat\u012bt\u0101js var nepaman\u012bt, cik neticami pla\u0161a un Eiropas m\u0113rog\u0101 kust\u012bga bija Mildas biogr\u0101fija. Bet \u00ad\u00ad\u00ad\u00ad\u2013 lasiet vi\u0146as dienasgr\u0101matas!<\/p>\n

Dienasgr\u0101matas ar\u012b ir filmas sp\u0113c\u012bg\u0101kais pamats. Nevis \u0101r\u0113js st\u0101st\u012bt\u0101js mums paskaidro, kas Milda bija, bet vi\u0146a pati run\u0101 ar sevi, un bie\u017ei ne\u017e\u0113l\u012bgi. Filmas psiholo\u0123iskais centrs ir pa\u0161as Mildas valoda. Vi\u0146a ar sevi daudz run\u0101 pav\u0113les form\u0101: \u201cDrosmi, Milda!\u201d \u201cManas neizturam\u0101s zin\u012bbu alkas.\u201d \u201cEs m\u012blu sevi tikai tad, kad str\u0101d\u0101ju.\u201d \u201cMana vien\u012bg\u0101 v\u0113l\u0113\u0161an\u0101s ir, lai mans pr\u0101ts mani baro.\u201d \u0160\u012bs fr\u0101zes veido filmas mugurkaulu. T\u0101 nav tikai \u0101r\u0113jas diskrimin\u0101cijas v\u0113sture, t\u0101 ir ar\u012b iek\u0161\u0113ja pa\u0161audzin\u0101\u0161anas dr\u0101ma. Milda sevi ne tikai aizst\u0101v, vi\u0146a sevi ar\u012b nep\u0101rtraukti ties\u0101. Pr\u0101ts k\u0101 vien\u012bgais, kas paliek, kad nav naudas, nav ziepju, m\u0101j\u0101s nav br\u012bvas stundas darbam, b\u0113rni prasa m\u0101ti, akad\u0113mija prasa pazem\u012bbu, bet dz\u012bve \u2013 nemit\u012bgi praktiskus kompromisus.\u00a0<\/p>\n

\"\"<\/a><\/p>\n

M\u0101ti\u0161\u0137\u012bbas l\u012bnija film\u0101 ir daudz sare\u017e\u0123\u012bt\u0101ka, nek\u0101 s\u0101kum\u0101 \u0161\u0137iet. H\u016bdijs ar uzrakstu \u201cmamma\u201d Sorbonnas imatrikul\u0101cijas triumfa br\u012bd\u012b var izskat\u012bties uzb\u0101z\u012bgs un anahronisks, tom\u0113r tas nav nejau\u0161s. Milda stud\u0113, raksta, ce\u013co un gatavojas doktor\u0101tam, b\u016bdama m\u0101te. Vi\u0146as akad\u0113misk\u0101 pa\u0161realiz\u0101cija nenotiek \u0101rpus b\u0113rniem, bet kop\u0101 ar vainas saj\u016btu par vi\u0146iem: \u201cNabaga b\u0113rni, jums pietr\u016bks m\u0101tes. Nesodiet mani.\u201d V\u0113l\u0101k \u0161\u012b vainas l\u012bnija atgrie\u017eas daudz smag\u0101k: \u201cEs uz\u0146emos vainu par vis\u0101m savas \u0123imenes nelaim\u0113m.\u201d Filma r\u0101da m\u0101ti\u0161\u0137\u012bbu k\u0101 vainas, pien\u0101kuma, m\u012blest\u012bbas un pa\u0161realiz\u0101cijas konfliktu.<\/p>\n

\u013boti sp\u0113c\u012bgi darbojas \u201cistaba\u201d, kur Milda non\u0101k m\u0101jas un virtuves telp\u0101. Te filma sasaista dienasgr\u0101matas tekstu ar arh\u012bva materi\u0101liem \u2013 sievietes pie rokdarbiem, m\u0101jtur\u012bbas skola, konserv\u0113\u0161ana, burkas, b\u013coda, priek\u0161auts. S\u0101kotn\u0113ji \u0161ie t\u0113li var likties p\u0101r\u0101k ac\u012bmredzami, bet dienasgr\u0101matas fr\u0101zes tos pamatoti padara par filmas centr\u0101lo konfliktu: \u201cM\u0101j\u0101s nav br\u012bva br\u012b\u017ea, lai pastr\u0101d\u0101tu vair\u0101k nek\u0101 divas stundas dien\u0101\u201d; \u201cVienm\u0113r pieejama citiem, aizmirstu b\u016bt pieejama sev\u201d; \u201cEs nej\u016btos laim\u012bga \u0161aj\u0101 k\u0101rt\u012bb\u0101\u201d.<\/p>\n

Te viss ir saprotams \u2013 sievietes dz\u012bve tiek sadal\u012bta starp pr\u0101ta amb\u012bciju un sadz\u012bves pien\u0101kumu. Ta\u010du \u0161eit filma balans\u0113 uz robe\u017eas. Kad burku k\u013c\u016bst p\u0101r\u0101k daudz, t\u0101s s\u0101k skaidrot to, ko skat\u012bt\u0101js jau ir sapratis. Milda risk\u0113 k\u013c\u016bt nevis par dom\u0101t\u0101ju virtuv\u0113, bet par v\u0113l vienu skaistu metaforu par sievieti virtuv\u0113. Filma ir p\u0101rliecino\u0161\u0101ka tad, kad t\u0101s simboli izaug no Mildas pa\u0161as valodas, nevis tad, kad tie s\u0101k dz\u012bvot k\u0101 visp\u0101r\u012bga sievie\u0161u atmi\u0146as ikonogr\u0101fija. Kinoarh\u012bva fragmenti ar sieviet\u0113m pie rokdarbiem, \u0113diena gatavo\u0161anas un m\u0101jtur\u012bbas darbiem veido skaidru kontrastu Mildas Pal\u0113vi\u010das intelektu\u0101lajai pa\u0161realiz\u0101cijai. Tie iez\u012bm\u0113 soci\u0101lo telpu, kur\u0101 sievietes darbs tradicion\u0101li tiek padar\u012bts redzams k\u0101 praktisks, apr\u016bp\u0113jo\u0161s un sadz\u012bvisks, nevis akad\u0113misks vai filozofisks.<\/p>\n

\n

\u0160aj\u0101 zi\u0146\u0101 arh\u012bva materi\u0101ls prec\u012bzi par\u0101da normat\u012bvo fonu, pret kuru Mildas biogr\u0101fija ieg\u016bst spriegumu.<\/p>\n<\/blockquote>\n

Tom\u0113r atk\u0101rtotie rokdarbu un \u0113diena gatavo\u0161anas kadri rada ar\u012b zin\u0101mu risku \u2013 filma var s\u0101kt reproduc\u0113t to pa\u0161u sievietes reduc\u0113\u0161anu uz m\u0101jtur\u012bbas t\u0113lu, kuru t\u0101 \u0161\u0137ietami kritiz\u0113.<\/p>\n

Sp\u0113c\u012bg\u0101k \u0161ie fragmenti darbojas tad, ja tos uztver k\u0101 koment\u0101ru par pa\u0161a kinoarh\u012bva skatienu un par to, k\u0101 v\u0113sturisk\u0101 vizualit\u0101te saglab\u0101jusi sievietes rokas un \u0137ermeni, bet daudz ret\u0101k vi\u0146as intelektu\u0101lo kl\u0101tb\u016btni.\u00a0\u012apa\u0161i labi film\u0101 darbojas roku mot\u012bvs. Fr\u0101ze \u201cnav ziepju, rokas paliek negl\u012btas\u201d sasaista nabadz\u012bbu, \u0137ermeniskumu, pa\u0161cie\u0146u un darbu. Rokas raksta, \u0161\u0137irsta, mazg\u0101, ku\u013c, k\u0101rto burkas, dedzina lapas. Rokas ir gan intelektu\u0101l\u0101 darba, gan m\u0101jtur\u012bbas, gan izdz\u012bvo\u0161anas instruments. Tie\u0161i rok\u0101s satiekas Mildas pr\u0101ts un vi\u0146as piespiedu sadz\u012bve.\u00a0<\/p>\n

B\u016btiska un veiksm\u012bga filmas izv\u0113le ir ar\u012b sadal\u012bt Mildas t\u0113lu div\u0101s kl\u0101tb\u016btn\u0113s. Jauno Mildu sp\u0113l\u0113 Agnese Budovska, padz\u012bvoju\u0161o \u2013 Indra Roga. J\u0101dom\u0101, ka tas nav tikai praktisks pa\u0146\u0113miens, lai at\u0161\u0137irtu dz\u012bves posmus, dr\u012bz\u0101k tas ir viens no filmas b\u016btiskajiem dom\u0101\u0161anas instrumentiem. Budovskas Milda ir nervoz\u0101ka, erotisk\u0101ka, alkain\u0101ka, kust\u012bg\u0101ka, pilna pa\u0161izveides un zin\u0101tk\u0101res impulsa. Rogas Milda nes sev\u012b nogurumu, zaud\u0113jumu, sp\u012btu un v\u0113l\u012bnu skaidr\u012bbu. Abas kop\u0101 rada iespaidu, ka Milda visu laiku sarun\u0101jas pati ar sevi \u2013 jaun\u0101k\u0101 ar vec\u0101ko, vec\u0101k\u0101 ar jaun\u0101ko, pag\u0101tnes Milda ar n\u0101kotnes Mildu. T\u0101 ir \u013coti prec\u012bza dienasgr\u0101matas lo\u0123ika \u2013 cilv\u0113ks nav viens monol\u012bts portrets, bet virkne da\u017e\u0101du \u201ces\u201d, kas cits citu mierina, aps\u016bdz, disciplin\u0113 un atceras.\u00a0<\/p>\n

\u017delve \u0161o strukt\u016bru nostiprina ar \u013coti apzin\u0101tu re\u017eiju. Filma nav re\u0101listiska v\u0113sturiska rekonstrukcija, t\u0101 ir inscen\u0113ta atmi\u0146as telpa. Baltas studijas telpas, simetriski kadri, stiliz\u0113ti t\u0113rpi, priek\u0161metu tuvpl\u0101ni, tum\u0161i sap\u0146u vai s\u0113ru laukumi, arh\u012bva kino ielaidumi un br\u012b\u017ei, kuros pati film\u0113\u0161anas situ\u0101cija tiek atsegta, nep\u0101rtraukti atg\u0101dina \u2013 Milda netiek vienk\u0101r\u0161i \u201catrasta\u201d, vi\u0146a tiek rekonstru\u0113ta. Tas ir \u013coti augl\u012bgs semi-dokument\u0101ls pa\u0146\u0113miens, jo \u013cauj skat\u012bt\u0101jam vienlaikus b\u016bt iek\u0161\u0101 st\u0101st\u0101 un redz\u0113t, k\u0101 \u0161is st\u0101sts tiek veidots. \u017delve neizliekas, ka var\u0113tu caursp\u012bd\u012bgi piek\u013c\u016bt pag\u0101tnei. Vi\u0146a dr\u012bz\u0101k r\u0101da, cik sl\u0101\u0146ains, starpnieku apgr\u016btin\u0101ts un da\u017ebr\u012bd pretrun\u012bgs ir pats atg\u016b\u0161anas process.<\/p>\n

\u012apa\u0161i interesanta \u0161aj\u0101 zi\u0146\u0101 ir scenogr\u0101fija, t\u0113rpi un m\u0101kslinieciskais noform\u0113jums (veidots kop\u0101 ar ilgsto\u0161o Krist\u012bnes \u017delves domubiedri, m\u0101kslinieci Ievu St\u016bri). Mildas istab\u0101 telpa nekad nav neitr\u0101la. Balt\u0101 vide, kur\u0101 par\u0101d\u0101s \u0136eni\u0146as \u0123imn\u0101zijas meitenes, ir ambivalenta \u2013 t\u0101 it k\u0101 kritiz\u0113 skatienu, kas meiteni p\u0101rv\u0113r\u0161 par romantiz\u0113tu fig\u016bru, bet reiz\u0113 pati \u0161o skatienu viet\u0101m vizu\u0101li izbauda. Meitenes k\u013c\u016bst par galeriju \u2013 skaistu, ko\u0137etu, viegli simboliz\u0113jamu.<\/p>\n

\"\"<\/a><\/p>\n

Lai nu k\u0101, svar\u012bgi, ka film\u0101 piesaukta Anna R\u016bmane-\u0136eni\u0146a, \u0123imn\u0101zijas direktore. Mildas dz\u012bv\u0113 vi\u0146as noz\u012bme gana iz\u0161\u0137iro\u0161a \u2013 Milda pati rakst\u012bjusi, ka p\u0113c aresta un smagajiem m\u0113ne\u0161iem Butirku cietum\u0101 uz tiesu Maskav\u0101 vi\u0146ai l\u012bdzi brauca \u0123imn\u0101zijas direktore A. \u0136eni\u0146a un vi\u0146as liec\u012bbai bijusi liela noz\u012bme attaisnojo\u0161\u0101 sprieduma pan\u0101k\u0161an\u0101. T\u0101p\u0113c \u0136eni\u0146as fig\u016bra film\u0101 ir svar\u012bga ne tikai k\u0101 skolas vad\u012bt\u0101jas t\u0113ls, bet k\u0101 sievietes solidarit\u0101tes un aizst\u0101v\u012bbas z\u012bme. Sievie\u0161u izgl\u012bt\u012bbas v\u0113sture ir ar\u012b st\u0101sts par sieviet\u0113m, kuras cita citu izgl\u0101bj, aizst\u0101v un iedro\u0161ina. Jo liel\u0101ks gandar\u012bjums to apzin\u0101ties tagad, kad Annas R\u016bmanes-\u0136eni\u0146as 150. dzim\u0161anas gadadiena 2027. gad\u0101 ir iek\u013cauta UNESCO svinamo gadadienu kalend\u0101r\u0101 2026\u20132027. Tas \u013cauj Mildas istabu las\u012bt v\u0113l pla\u0161\u0101k, k\u0101 filmu ne tikai par vienas filozofes atg\u016b\u0161anu, bet ar\u012b par sievie\u0161u intelektu\u0101lajiem un mor\u0101lajiem atbalsta t\u012bkliem.<\/p>\n

Tie\u0161i scenogr\u0101fij\u0101 vislab\u0101k redzams ar\u012b \u017delves rokraksts. Pl\u012bvojo\u0161ie baltie audumi un palagi j\u0101izce\u013c starp filmas skaist\u0101kajiem t\u0113liem. Tie atg\u0101dina par sievie\u0161u pasauli, tekstilu, sadz\u012bvi, gultu, slim\u012bbu, m\u0101ju, bet vienlaikus ir ar\u012b aizkars, ekr\u0101ns, pl\u012bvurs, l\u012b\u0137auts, robe\u017ea starp redzamo un apsl\u0113pto. Aina, kur Milda atrodas aiz baltajiem audumiem, kas sak\u0101rti uz auklas, un raug\u0101s caur to spraug\u0101m, \u013coti prec\u012bzi materializ\u0113 visas filmas principu: \u0161\u012b sieviete pie mums non\u0101k caur p\u0101rkl\u0101jumiem \u2013 caur tekstu, arh\u012bvu, dzimtes lom\u0101m, v\u0113l\u0101k\u0101m interpret\u0101cij\u0101m. T\u0101 ir skaista un gudra epizode. Ta\u010du te ar\u012b s\u0101kas filmas liel\u0101kais risks. \u017delvei ir \u013coti izkopta sievie\u0161u atmi\u0146as est\u0113tika, un br\u012b\u017eiem \u0161\u0137iet, ka vi\u0146a tai uzticas vair\u0101k nek\u0101 pa\u0161as Mildas biogr\u0101fijas rupj\u0101kajam, v\u0113sturiski as\u0101kajam materi\u0101lam.<\/p>\n

Izce\u013cami veiksm\u012bga ir \u201cdarbistabas\u201d epizode p\u0113c doktora gr\u0101da ieg\u016b\u0161anas. Te Milda jau ir profesion\u0101le, kuras priek\u0161\u0101 aizveras universit\u0101tes durvis. LU Filozofijas fakult\u0101tes dek\u0101na pretest\u012bba vi\u0146as kandidat\u016brai, vi\u0146as vientul\u012bg\u0101 kl\u0101tb\u016btne v\u012brie\u0161u filozofu biedr\u012bb\u0101, negat\u012bvais koment\u0101rs par vi\u0146as apcer\u0113jumu \u2013\u00a0tas viss par\u0101da akad\u0113misk\u0101s vides dzimtes hierarhiju. \u012apa\u0161i laba ir aina, kur Milda ar kr\u0101sas baloni\u0146iem ap\u0137\u0113p\u0101 sienu ar Kanta att\u0113lu, piez\u012bm\u0113 tam ragus un vizu\u0101li aptraipa filozofijas kanonu. \u0160eit filma p\u0113k\u0161\u0146i k\u013c\u016bst dz\u012bva, ironiska un dusm\u012bga.<\/p>\n

\n

Tas ir daudz sp\u0113c\u012bg\u0101k nek\u0101 da\u017eas skaist\u0101s metaforas, jo \u0161is \u017eests ir tie\u0161s, hulig\u0101nisks un atbr\u012bvojo\u0161s.\u00a0<\/p>\n<\/blockquote>\n

Maz\u0101k veiksm\u012bgs ir l\u0113mums v\u012brie\u0161u tekstus ierun\u0101t ar m\u0101ksl\u012bg\u0101 intelekta robotbalsi. Ideja ir saprotama \u2013 patriarh\u0101l\u0101 akad\u0113misk\u0101 vara k\u0101 bezpersoniska, meh\u0101niska sist\u0113ma. Tom\u0113r \u0161odien \u0161is pa\u0146\u0113miens vairs neskan tik svaigi, robotisk\u0101 pieska\u0146a un neprec\u012bz\u0101 izruna dr\u012bz\u0101k nov\u0113r\u0161 uzman\u012bbu, nek\u0101 padara varu bied\u0113jo\u0161u. V\u012brie\u0161u pretest\u012bba Mildai s\u0101k izklaus\u012bties nevis k\u0101 soci\u0101li le\u0123it\u012bms, labi iee\u013c\u013cots akad\u0113misks meh\u0101nisms, bet k\u0101 neveikls teksta las\u012bt\u0101js, un tas mazina konflikta smagumu. Patriarh\u0101ta balss nav b\u012bstama t\u0101p\u0113c, ka t\u0101 ir robotiska; t\u0101 ir b\u012bstama t\u0101p\u0113c, ka bie\u017ei skan gudri, mier\u012bgi, piekl\u0101j\u012bgi un pa\u0161p\u0101rliecin\u0101ti.<\/p>\n

Sada\u013ca \u201cPal\u0101ta. Kamera. Kapli\u010da\u201d ir viens no emocion\u0101li smag\u0101kajiem filmas mezgliem. Taj\u0101 sapl\u016bst Adeles slim\u012bba, Arnolda n\u0101ve, Andra cietums, psihiatrisk\u0101s kl\u012bnikas mot\u012bvi, oscilogr\u0101fa l\u012bnija, tumsa un kapli\u010das telpa. \u0160eit filma neiev\u0113ro vienk\u0101r\u0161u hronolo\u0123iju \u2013 b\u0113rnu n\u0101ves un nelaimes, ko \u0161\u0137ir gadi un pat desmitgades, tiek savilktas vien\u0101 s\u0113ru telp\u0101, un tas ir prec\u012bzi no atmi\u0146as viedok\u013ca, jo s\u0113ras nedz\u012bvo p\u0113c kalend\u0101ra. Ta\u010du skat\u012bt\u0101jam, kur\u0161 nep\u0101rzina biogr\u0101fiju, var pazust notikumu att\u0101lums un konkr\u0113t\u012bba.<\/p>\n

\u013boti interesanti \u0161aj\u0101 posm\u0101 ien\u0101k 1959. gada kosmosa mot\u012bvs \u2013 pirm\u0101s padomju ra\u0137etes sasniegtais M\u0113ness. Filma to ner\u0101da k\u0101 politisku hroniku vai aukst\u0101 kara tehnolo\u0123isk\u0101 triumfa notikumu. Milda non\u0101k tum\u0161\u0101, zvaig\u017e\u0146u projekciju piepild\u012bt\u0101 telp\u0101, vi\u0146as siluets it k\u0101 pace\u013cas pret kosmisku gaismu. \u201cJaun\u0101s \u0113ras s\u0101kums. Zin\u0101tne ies uz priek\u0161u milzu so\u013ciem.\u201d \u0160is ir viens no filmas tra\u0123isk\u0101kajiem kontrastiem: personiskaj\u0101 dz\u012bv\u0113 \u2013 b\u0113rnu slim\u012bbas, n\u0101ve, cietums; pasaules v\u0113stur\u0113 \u2013 zin\u0101tnes triumfs un kosmosa atv\u0113r\u0161an\u0101s. Pasaule dodas uz M\u0113nesi, bet Milda paliek kapli\u010d\u0101. Tie\u0161i \u0161aj\u0101 pretnostat\u012bjum\u0101 po\u0113tiskums darbojas \u013coti sp\u0113c\u012bgi.<\/p>\n

Bibliot\u0113kas posms aizved filmu atpaka\u013c pie instit\u016bcij\u0101m un rakst\u012bt\u0101 v\u0101rda. Tr\u012bsdesmit gadi p\u0113c disert\u0101cijas, tr\u012bs reizes ned\u0113\u013c\u0101 akad\u0113misk\u0101 bibliot\u0113ka, manuskripta iesnieg\u0161ana, izskat\u012b\u0161ana, atteikumi, process, kas iet caur partijas CK biroju, karotes lombard\u0101 un gr\u016bt\u0101 iztik\u0161ana \u2013 tas viss r\u0101da, ka Mildas c\u012b\u0146a ar atz\u012b\u0161anas meh\u0101nismiem nebeidzas starpkaru universit\u0101t\u0113. Padomju sist\u0113m\u0101 vi\u0146as darbs atkal non\u0101k birokr\u0101tisk\u0101s un ideolo\u0123isk\u0101s sl\u016b\u017e\u0101s. Aina, kur p\u0113c atteikuma tiek dedzin\u0101tas lapas, ir tie\u0161a, bet iedarb\u012bga \u2013 ja teksts netiek pie\u0146emts publiskaj\u0101 aprit\u0113, tas p\u0101rv\u0113r\u0161as simboliskos pelnos.<\/p>\n

Noz\u012bm\u012bgs ir ar\u012b filmas fin\u0101ls. Jaun\u0101 un vec\u0101 Milda beidzot iziet no \u201cistabas\u201d, un filma par\u0101da pati savu uzb\u016bv\u0113t\u012bbu \u2013 tehniku, rekviz\u012btus, m\u0101ksl\u012bgumu. Tas ir gudrs g\u0101jiens, jo atg\u0101dina, ka ar\u012b \u0161\u012b istabas atg\u016b\u0161ana ir konstrukcija. Bet tad seko tipogr\u0101fija \u2013 vieta, kur Mildas gr\u0101mata un dienasgr\u0101matas beidzot tiek druk\u0101tas. P\u0113c vis\u0101m durv\u012bm, kas vi\u0146as priek\u0161\u0101 tiku\u0161as aizv\u0113rtas, \u0161is ir gandr\u012bz materi\u0101ls taisn\u012bguma akts.<\/p>\n

\"\"<\/a><\/p>\n

M\u016bzikas izv\u0113le film\u0101 veido pla\u0161u simbolisku lauku no Platona Buravicka laikmet\u012bg\u0101s, kosmiskas un metafiziskas ska\u0146as telpas l\u012bdz Edgara M\u0101kena un grupas Jaun\u012bba m\u016bsdienu dziesmu kl\u0101tb\u016btnei, ar\u012b J\u0113kaba Medi\u0146a klasisk\u0101s m\u016bzikas \u201cle\u0123endas\u201d re\u0123istram. Vienlaikus \u0161\u012b izv\u0113le viet\u0101m pastiprina filmas tieksmi estetiz\u0113t konfliktu \u2013 akad\u0113misk\u0101s pretest\u012bbas soci\u0101lais asums tiek p\u0101rnests po\u0113tisk\u0101, metafizisk\u0101 un m\u016bsdien\u012bgi stiliz\u0113t\u0101 ska\u0146as telp\u0101. Rezult\u0101t\u0101 filma k\u013c\u016bst atmosf\u0113riska un konceptu\u0101li bag\u0101ta, bet ne vienm\u0113r pietiekami ne\u0113rta.\u00a0<\/p>\n

Bet Mildas istaba ir v\u0113rt\u012bga nevis t\u0101p\u0113c, ka t\u0101 nevainojami \u201catrisina\u201d Mildas Pal\u0113vi\u010das biogr\u0101fiju. T\u0101 ir v\u0113rt\u012bga t\u0101p\u0113c, ka r\u0101da pa\u0161u atg\u016b\u0161anas darbu \u2013 cik tas ir nepiecie\u0161ams, skaists, neveikls, s\u0101p\u012bgs un nepabeigts. Mildas istaba ir intelektu\u0101li ambicioza, vizu\u0101li konsekventa un form\u0101li drosm\u012bga filma, un t\u0101s liel\u0101kais sp\u0113ks ir atteik\u0161an\u0101s no vienk\u0101r\u0161a biogr\u0101fiska triumfa \/ sagr\u0101ves narat\u012bva. \u017delvi neinteres\u0113 tikai \u201cpirm\u0101s sievietes filozofijas doktores\u201d statuss. Vi\u0146u interes\u0113 tas, k\u0101 sievietes intelektu\u0101l\u0101 dz\u012bve tiek ierobe\u017eota, pa\u0161disciplin\u0113ta, vainota, saglab\u0101ta, noraid\u012bta un p\u0113c n\u0101ves m\u0113\u0123in\u0101ta atg\u016bt. Tiesa, re\u017eisore \u017delve reiz\u0113m ir p\u0101r\u0101k iem\u012bl\u0113jusies sav\u0101s z\u012bm\u0113s, savos audumos, sav\u0101 sievie\u0161u atmi\u0146as est\u0113tik\u0101. Ta\u010du filmas lab\u0101kajos br\u012b\u017eos vi\u0146a tr\u0101pa \u013coti prec\u012bzi \u2013 nevis vienk\u0101r\u0161i atdodot istabu apbr\u012bnojami talant\u012bgajai Mildai, bet par\u0101dot, cik gr\u016bti sievietei visp\u0101r dab\u016bt sev istabu, kur\u0101 vi\u0146as pr\u0101ts dr\u012bkst\u0113tu vi\u0146u barot. <\/p>\n","protected":false},"excerpt":{"rendered":"Ir gandar\u012bjums redz\u0113t, ka sievie\u0161u v\u0113sture Latvij\u0101 k\u013c\u016bst arvien bl\u012bv\u0101ka, p\u0101rliecino\u0161\u0101ka un publiski dzirdam\u0101ka. Milda Pal\u0113vi\u010da vairs nav…\n","protected":false},"author":2,"featured_media":197774,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[89,90,35,39,38,36,37,34,40],"class_list":{"0":"post-197773","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-entertainment","9":"tag-izklaide","10":"tag-latvia","11":"tag-latvian","12":"tag-latviesu","13":"tag-latviesu-valoda","14":"tag-latviesuvaloda","15":"tag-latvija","16":"tag-lv"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/116540368726616552","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/197773","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=197773"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/197773\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/197774"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=197773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=197773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=197773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}