Michael Goorjian: Shooting ‘Amerikatsi’ a Return to Filmmaking in Armenia

It took quite some time for us to find the right title for the film. Originally I had titled it, The New Armenian, inspired by the William Saroyan’s quote about how whenever two Armenians come together a new Armenia is born. Conceptually that title works and reflects the dynamic between the two main characters in the film. However, as you pointed out to me, out of context, “The New Armenian” has another meaning somewhat akin to “Nouveau Riche.” Besides that, pretty much everyone who read the script felt that title just didn’t reflect the essence of the film. So during the entire shoot (which due to the pandemic lasted close to five months), everyone was pitching alternative titles, all sorts of things. Eventually, after a hard week shooting, Rodin, our first assistant camera suggested “Amerikatsi,” which is what the main character is often referred to in the film. It just seemed to stick. And surprisingly, non-Armenians seem to like it as much as Armenians.

In your interview with Asbarez Armenian daily in 1994 you said: “I think with anybody who creates something, whether it be writing or film, the most powerful thing that they can do is something that is personal and dates from their own history.” So as we can see, your film, dedicated to your grandpa’s memory, also somehow connected to your family history.

Indirectly. My grandfather was not part of the post-World War II repatriation movement. However, he was, like the main character, a Genocide survivor who escaped alone as a child and made his way to America. What I said back in 1994, I still think is true, but I think I would add to it by saying that, for me, the most powerful form of narrative storytelling involves reaching for a truth that resides deeper than facts. Amerikatsi is by no means a historical account of any one person’s experience. Yes, we did our best to attend to as many historical details as possible, to create an authentic representation of Soviet Armenia. But the story we are telling is an amalgamation of hundreds and hundreds of stories. So, yes, my grandfather, Manoog Goorjian, is in this film, his essence is in my performance as Charlie Bakhchinian. But also the father of Spanish-Armenian actor Hovik Keuchkerian can be seen in this film through his performance as Tigran. Details from the many stories we heard about those who repatriated to Armenia are in the film, as well as details from the perspective of native Soviet Armenians.  Everyone working on the film contributed to the story in this way, which I believe gives our film a richness greater than if the story was just coming from me.

Diaspora Armenian artists are most concerned by the Genocide subject, which is natural as they are the result of that. In our interview of 2006 you said: “I don’t necessarily want to do a film about Armenia and Armenian history and the Genocide. I would prefer to make a film that was made with Armenians or just happened to take place in Armenia.” So things happened like this, and though in your film there is reference to genocide, the main focus is on  the Soviet-Armenian reality of late 1940s and early 1950s. It is very welcoming to make a film on the repatriation topic, hitherto not having much consideration in film.

I think it is extremely important to make films about the Genocide, and I applaud those filmmakers brave enough to take on the task. As a filmmaker, I felt I could better serve my Armenian heritage by focusing on other aspects of our history and culture. I also just wanted to make an Armenian film that would be a joy to watch, and hopeful, and most importantly, something non-Armenians could relate to. Knowing personally how hard it is to drag non-Armenian friends to a film about the Genocide, and I thought maybe I could make a film that would be a little easier for proud Armenian grandmothers to get their odar neighbors to watch. I remember, one of the most encouraging comments I got about the script when I first wrote it, was from a fellow filmmaker who told me, “You know, your story is not just for Armenians, it’s a universal story, everyone will relate to it.”

You have not done a joint project, as it might be expected, but an Armenian one with an international cast and crew. Observing the shoot, I was very impressed by high professionalism of all participants. Tell us about them please.