Azerbaijani cinema has lost a great artist... Artists who were masterful performers of leading roles in historical films, such as Rasim Balayev, are rarely nurtured. Rasim Balayev's art was devoid of pathos, natural, and at the same time, extremely impactful. In the characters of Nasimi and Babek portrayed by him, the Azerbaijani audience saw not merely an actor, but rather a person who had lived in history.
The character of Nasimi, portrayed by Rasim Balayev, made the Azerbaijani audience feel the philosophy, pain, and rebellion of the great poet.
The film “Nasimi”, based on the novel “Mahshar” by People's Writer Isa Huseynov, is a poetic manifesto of thought, belief, and the human spirit's struggle for freedom.
Filming for the screen adaptation, dedicated to the 600th anniversary of the birth of Imadaddin Nasimi, the prominent poet and philosopher of the Azerbaijani people and minstrel of the Hurufi order, began in 1972 and was released in 1974.
In the film, Nasimi is presented not only as a master of words but also as a personality who stood by his ideas until the very end. His words were sharper than a sword, and his faith was unshakeable.
Rasim Balayev was able to professionally present Nasimi to the Azerbaijani audience.
It was precisely the film “Nasimi” that served as the catalyst for Rasim Balayev's entry into art and his continuation in it. The matter is that Rasim Balayev, who had been invited to screen tests for several films before “Nasimi” but failed in all of them, had fallen into a deep depression and decided to abandon his acting career. The young graduate of the Institute of Arts, who had also lost his father during that period, was struggling under the weight of financial and moral difficulties. At such a time, he was hospitalized with severe depression.
In one of his interviews given to the Modern.az website, Rasim Balayev recalled that period as follows:
“It was approximately 1972. I was in the hospital. Stress and nerves had worn me out; I was in depression. I felt very bad. The second director of the film “Nasimi” came to the hospital. He gave me a script, said “read it” and left.
I didn't read it at all, because I didn't believe they truly wanted to cast me in the film. Also, due to my illness, I didn't believe I would recover... When he came to me the next time, even though I hadn't read it, I falsely said “I read it”. In the end, they came and went many times, they didn't give up. Finally, I left the hospital, and they invited me to rehearsals. After 2 months of rehearsals, I was approved for filming.”
Hasan Seyidbeyli, the director of the film “Nasimi”, saw Rasim Balayev reciting poetry on television and showed him to the scriptwriter Isa Huseynov. Both liked the young actor and decided to cast him in the leading role in the film “Nasimi”.
At that time, the directive for the filming of “Nasimi” had been issued by the Central Committee. Heydar Aliyev, who led Azerbaijan, received writer Isa Huseynov and film director Hasan Seyidbeyli and instructed that a good film worthy of the prominent poet's name should be made. A large sum of money was allocated for the film's production. Supervision of the filming was entrusted to Gurban Khalilov (currently the father of Farhad Khalilov, chairman of the Artists' Union – ed.), who then headed the Presidium of the Supreme Soviet.
At that time, Gurban Khalilov served as Deputy Chairman to Heydar Aliyev, who was the chairman of the state commission established for the celebration of Nasimi's jubilee.
The selection of actors was also carried out under his supervision. Although Gurban Khalilov agreed with the selection of all actors, he expressed his objection when it came to Rasim Balayev.
Gurban Khalilov became very angry when he learned of Hasan Seyidbeyli's desire to bring a new face to the film. He said that since it was a responsible job, “one cannot take risks”. He suggested that a well-known, competent actor should be invited. He stated that entrusting a serious task like portraying the character of Nasimi to an inexperienced young person would be a mistake. Because Rasim Balayev had not been filmed until then.
Gurban Khalilov stated that this film was personally under Heydar Aliyev's attention, and any mistake could put them in a difficult situation.
Therefore, other actors were proposed by the Central Committee for the role of Nasimi, but director Hasan Seyidbeyli insisted on Rasim Balayev.
At the end of the discussion, Gurban Khalilov told director Hasan Seyidbeyli, “whatever happens, all responsibility rests on you”.
Thus, consent was given for Rasim Balayev to be cast in the role of Nasimi. It was decided that the young actor would first be tested in a 2-month rehearsal.
From the actor's interview to our website:
“At that time, they didn't know what I was capable of as an actor. The 2-month rehearsal was for them to make a final decision. After Mr. Hasan's insistence and request, they agreed to cast me. Because Mr. Hasan had emphatically stressed that he could not see anyone else in this role besides me.
Later, Hasan Seyidbeyli had us rehearse the most important scenes of “Nasimi”. The director gained full confidence, and thus I was approved for the role of Nasimi.”
Thanks to director Hasan Seyidbeyli, Rasim Balayev was discovered for Azerbaijani cinema.
From an interview with People's Artist Khalida Guliyeva, who played the role of Fatima in the film, to Modern.az:
“Mr. Hasan approached his performance very seriously, and he was also very demanding. During the filming process, the director sometimes got angry and shouted. He pushed Rasim to his limits, until he got what he wanted from him. It was not only towards Rasim but towards all of us. We were exhausted until he got what he wanted. Hasan Seyidbeyli was a professional in his work, so he demanded professionalism from us too…
…Since this film was Rasim Balayev's first major work, Mr. Hasan worked with him extensively. He tuned him into that state, giving great priority to creativity. Regardless of which role we played, everyone put their feelings into it. Because a person playing a character must have their own history, intellect, must have experienced tragedies somewhere, and must feel pain. Then a more impactful character can be created, and in such a case, trust is built in the audience. That period was very difficult for Rasim; he had fallen into depression. To cast him in this film, they brought him out of the hospital. Rasim wanted to abandon his art. Thus, the film Nasimi saved him from that stress. Hasan Seyidbeyli discovered him.”
Khalida Guliyeva: “The execution scene of Nasimi was so convincing that even the people in the crowd scene were very emotional. Watching them, one could understand that a person was truly being executed. I should also mention that the filming of Nasimi's execution scene did not succeed on the first day; Hasan Seyidbeyli was not satisfied. They didn't give Rasim food for a day so that he would appear dull, weak, and pale. But the second time, with the efforts of Mr. Hasan and Rasim, it turned out very magnificently. I believe that if that film had been entrusted to another director, it would not have been so effective.
Historical films made after “Nasimi” were also not as real and convincing. Because there was a human factor in this film. Despite being a historical film, the freedom of the human spirit was prioritized.
At the film festival, Rasim won an award for Best Male Role, and “Nasimi” was deemed worthy of the title of Best Historical Film. At that time, the Central Committee was very pleased with the film.”
Rasim Balayev: “Nasimi is the only historical film where there are no decorations. For example, “Babek”, “Nizami”, “Dede Gorgud” have them, but the film “Nasimi” was entirely shot on location, without studio filming. I was 24 years old then. This was not ordinary for me; it was a fateful film...
In fact, this screen work was a risk for me: either it had to be accepted by the audience, or I had to leave the art world. “Nasimi” had become a matter of life or death for me.
It was an honor for me to act in a film alongside great actors. Although I had previously appeared in an episode of a film in Moscow, “Nasimi” was my first major work. It was a pleasure for me to act with Ismayil Osmanli, Mammadrza Sheykhzamanov, Yusif Valiyev, and others whom I had never met in person but was a fan of.
Mainly because of Hasan Seyidbeyli, my responsibility had increased tenfold. When the film was shot, Mr. Hasan was 40-42 years old, but at that time, he seemed old to me. He was a very demanding, talented, and, in the true sense of the word, a “delightful” person.”
After the film “Nasimi” turned out to be successful, Gurban Khalilov approached Rasim Balayev at one of the events and apologized to him. “My son, I strongly objected to your casting in this role. I was afraid that you were young and might not be able to do it. Everything would go to waste,” said the Chairman of the Supreme Soviet.
The character created by Rasim Balayev is one of the main factors that immortalized this film. He doesn't play Nasimi - he seems to live him. His gaze, his silence, his manner of speech - every detail enhances the depth of the character.
The film also depicts the tragedy of intolerance towards human free thought. But this tragedy does not evoke despair - on the contrary, it poses a question to the audience: how far can we go for the sake of truth?
The film “Nasimi” does not become outdated over time. Because it conveys not a specific period, but an eternal theme - the human struggle to protect one's truth. Every viewing of this film brings a new meaning, awakens a new feeling.
Perhaps this is why “Nasimi” is a work of art that is contemplated and not forgotten for a long time.
A. Gafarli
