Actress Nora Armani

Nora Armani Speaks in Western Armenian in a European Film

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YEREVAN – A retrospective screening of the films featuring New York and Paris-based Armenian actress Nora Armani, took place October 1-3, at the Yerevan Cinema House, presented by the Union of Film Professionals of Armenia. According to the Internet Movie Database (IMDb), Armani has appeared in some 30 films and television productions. She has also performed on stage internationally. The Yerevan program included Ara Yernjakyan’s “Deadline in Seven Days” (1991, Armenia), Harutyun Khachatryan’s “Last Station” (1994, Armenia), and Rax Rinnekangas’s “The Last Wish” (2024, Finland-Spain).

We sat down with the renowned actress regarding her acting in the last film.

Dear Nora, I am very glad you are a central figure in Rax Rinnekangas’s film “The Last Wish,” an international project. The main hero of the film goes to a monastery to fulfill “The Last Wish” of his dying theatre coach mentor friend: to read every page of Dostoyevsky’s The Brothers Karamazov three times. You portray Dostoyevsky’s main female characters, though in quite an unusual way — not so much physically, but in the ideas they represent. When accepting the roles, did you reread the novel? And, more generally, is Dostoyevsky among the writers who are close to your artistic temperament?

My characters in the film are more symbolic renditions of Dostoyevsky’s characters, rather than true portrayals of them. In fact, the film makes use of the Dostoyevsky novel, but is not the story of the novel. It uses the philosophy behind it and the incidents in it to draw parallels with what is happening in the world around us today. These parallels appear in the life of the film’s hero. Although I am familiar with the work, my reading of the 1000-page novel back-to-back, apart from pure curiosity and literary re-education, would not have helped the film much. Instead, I made myself available to the director’s interpretation — what he wanted my character to do and say — and I immersed myself in the experience.

The film conveys a strong message that, in our uneasy times — marked by wars and humanity’s growing dependence on technology — reading great literature may serve as a kind of remedy or salvation.

Indeed. Rax Rinnekangas is a well-known published author in Finland, in addition to being a photographer and a filmmaker. Some of his novels are also published in France and other countries. His belief in the power of literature, and in the importance of books in our lives is so strong that four of his latest films are based on the theme of books and literature. “The Last Wish” is one of these films, and its underlying philosophy is that great literature belongs to humanity and should not be politicized in any way. On the contrary, in its pages lies humanity’s salvation. His newer film after “The Last Wish,” is “Jukebox, “which was released this year, and is inspired from the eponymous novel by Nobel Prize winning author Peter Handke. I play a lead role in that film too. Sadly, because of the widespread influence of social media, books are losing their place in our lives, and the film is a wakeup call to us human beings about the loss of important values.

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There is a widespread notion that Dostoyevsky and other great Russian cultural values are being neglected in the West today. Yet this film proves the opposite. Moreover, as the film notes, “the despot of the East” now suppresses certain Russian values within his own country. In this context, how do you see “The Last Wish” contributing to the preservation or revival of Dostoyevsky’s literary and philosophical legacy for contemporary audiences?

The film is a Finnish-Spanish co-production, however, Rax Rinnekangas who is a Finnish filmmaker, has studied the Russian language and literature, and points that its great works in fact belong to world civilization. Today, in the West, there is a tendency of neglecting major literary works that have contributed to the whole of human development and philosophy, because of political reasons. Great literature should be above the dirty games of politics, and that is what the film advocates. Russia may be waging a war the West is completely opposed to, but that should be no reason to ban Russian literature and erase its major contributions to human thought. It is a very limited and limiting approach. Hopefully the film reverses this. In Armenia, the audience was very receptive as they are well-read and were familiar with the works of the great Russian authors.

We are used to seeing you with your characteristic warm smile, which has almost become your artistic signature. In “The Last Wish,” however, there is no smile; instead, the close-up shots of your face and profile reveal multiple emotional layers. How did you approach conveying such depth and intensity without relying on your usual expressiveness?

That is a very interesting question, and I am glad you are asking it. As an actress, mostly working in Hollywood, we fall into the trap of being cute and pretty. But that is in itself a rather superficial way of being. I was never the “pretty little thing” in films, even when I was a pretty little thing in real life (laughs). However, when I was younger, these types of strong and thoughtful women characters were not part of my repertoire. I am happy that by maturing, a new path towards portraying strong women characters that can reveal multiple emotional levels is opening up to me. As for the preparation for the role, I just had to immerse myself in the story, listen to the director, and trust that what I have experienced and lived, not only as an actor myself, but also as an Armenian woman with a tradition and history behind me, would come in handy. I am glad you noticed that change, and are depicting upon it.

Interestingly, the Yerevan premiere of “The Last Wish” coincided with the 100th anniversary of Garbis Surenian, the remarkable translator of The Brothers Karamazov into Armenian. Rax Rinnekangas’s film blends visual poetry with philosophy, and one can sense the influence of Tarkovsky. What was special about working with Rinnekangas and on this film in particular?

Rax is one of those directors who doesn’t say much, but knows exactly what he wants and how to get it. He talks about various aspects of daily life, his life experiences, preferences, stories that have marked him, and he trusts that his actors will also bring their own experiences into the equation. I love this unobtrusive way of directing and handling actors very delicately. The creation of a character on screen is a very delicate process. The camera is very sensitive and can penetrate into one’s soul. If we are not in the right emotional state, or carry over aspects of our daily lives onto the set, the camera picks up all these details, and they show up on screen. Creating a protected atmosphere is what Rax does very well. We become one family with the small crew he uses. Full trust reigns everywhere. He likes to tell the story of Ingmar Bergman, known for his sparsely populated quiet dramas, and David Lean, known for “Doctor Zhivago” and “Lawrence of Arabia” with their casts of thousands. When Lean asks Bergman how many people his crew is composed of, Bergman says, “A few friends.” And when he in turn asks Lean about his film crews, Lean says, “Hundreds of enemies.” Rax advocates Ingmar Bergman’s approach, and I love that too.

In “The Last Wish,” you portray Agrafena (Grushenka), a Russian character from Dostoyevsky’s universe, yet you speak in Western Armenian — a deeply symbolic choice. I had the impression that this was your initiative, although Dostoyevsky’s characters are profoundly rooted in Russian spirituality and psychology. As an actress, how does performing in a language that carries your own heritage affect your connection to a character belonging to another culture and century?

Rax Rinnekangas likes his characters to speak different languages. Even though Grushenka is Russian, since that character was just a symbolic portrayal of the philosophy behind the work, it was not crucial that she speak Russian. Rax gave me the choice to use any of the multiple languages that I speak. However, I chose to go with Western Armenian, the closest mother tongue for me. He loved the idea. Needless to say, performing in one’s mother tongue brings out the most sincere and strongest connection possible to the character and the work in general. I would like to note that UNESCO has declared Western Armenian an “endangered language” since 2010. Every time we use it, we increase its longevity.

Did Rax Rinnekangas discuss with you the philosophical or symbolic implications of having a Dostoyevsky character speak Armenian? If so, how did that dialogue shape your interpretation?

He wanted a language that sounded at once exotic and deep, spoken by few people, so as the words do not get in the way of the pure emotions, or coat them with barriers preventing the real meaning from emerging. It is not so important whether the character belongs to another culture or century, or speaks a different language in realistic terms, because, as I said, the film is not a depiction of the Dostoyevsky work in any form of accuracy, but only uses it as inspiration. Acting in my mother tongue created a deeper connection to the broader human aspect of the work. Although I have performed in Western Armenian many times on stage, especially during my early years as an actress, this was the first time I was having the opportunity to create a screen character in Western Armenian. It was a great experience for me.

Thank you for your insightful questions which made me stop and think, and in some cases define situations that I had gone through rather instinctively. Now thanks to you, they are in the realm of my consciousness, and can be used in future works.

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