"WE HAVEN'T GOT THERE YET"

She is both passionate and natural on screen and on stage. Every time she breathes new life into her roles. She has a style unlike anyone else's. Off set and stage Merited Artiste of Azerbaijan Mehriban Zeki comes across as reserved and sensible. Her fellow actors regard her as a strong-willed woman. Mehriban Zeki herself loves her profession, which demands of her a great sense of responsibility and much self-sacrifice. Audiences remember her for films like "Farewell, Southern City", "The Sovereign's Fate", "Confluence" and "The Fraudsters" among others. Recently the list of her successes in the cinema has been further extended with parts in serials like "The Secret". We would like to know what the actress herself thinks about these modern serials, whether she regards them as creative work or just bread and butter. Merited Artist of Azerbaijan Mehriban Zeki spoke to  Region plus magazine about this and other aspects of her life as an actress in an interview.

- Mehriban Zeki, why do you think that serials are so popular at the moment?

- This is probably because they depict everyday life, they mimic reality. Viewers also like "soap operas" because they can follow them over a long period and usually relax while watching them. I personally do not regard serials as an art form. I believe that art is what we have in the theatre and the cinema. The theatre involves a kind of a mystical and magical ritual. The cinema is a like a painting that has come to life or an artwork that has been made into film. A serial, like a television production, is shaped by other demands and specifications. Do you remember how viewers used to be glued to the Brazilian "soap operas"? But with hindsight, these films seem rather dated and unsophisticated now. They were followed by the Russian and Turkish serials. We have really only just started to make serials like this. We still have a long way to go. This is why most of our serials leave a lot to be desired. As I have already noted, the aims and demands of television vary greatly from those of the theatre and the cinema. The ratings and popularity of programmes are what is most important for television. It is the producer's job to boost audiences and, consequently, to attract more advertisers. In Russia and Turkey they have long realised what makes a good "soap opera" that attracts audiences so that they can't wait to see the next episode. Just as in a mathematical problem, there needs to be a good story line that can be worked on and developed. We haven't got there yet. It will be a real breakthrough when we do. For the moment we have to go on learning how to do it.

- Do you watch serials yourself? What kind of films do you like?

- I didn't use to watch them. Firstly, I don't get that much spare time; secondly, I regard my job in the arts as being somewhat different. To be honest, I find "soap operas" boring. When I first started to act in serials I felt it was my job to watch a few Turkish and Russian serials. The Russian serials differ from the Brazilian ones in that they are more tightknit. They don't go on for ages and are more like feature films divided into parts. For example, the filming of "Anna Karenina" and "Yesenin" and the visual effects were achieved in a highly competent manner. Russia's approach in filming serials is both very professional and sound. At least, that was the opinion I formed when I watched them. Everything is precisely thought out and every nuance is taken into account. The sets, the effects achieved by the cameraman, the sound and the lighting are splendid. I can say exactly the same of one of the most popular Turkish serials, "Magnificent Century" [tr. a historical soap opera based on the life of Ottoman Sultan Suleiman the Magnificent], which is being shown worldwide. After watching this serial it became clear to me how the screenwriters and directors develop the story line and construct the film. The subject-matter in the first 10 to 15 episodes is usually so complicated and packed with the background stories and adventures of the main characters that the viewers constantly find themselves in a state of suspense and excitement. After that, the story line starts to unfold a little more slowly, as the main characters find themselves involved in rather unexpected situations, from which they usually extricate themselves, providing a happy ending.

I recently read an interview with screenwriter of "Magnificent Century", Meral Okay, in which she spoke about the filming of the serial. During the time of Sultan Suleiman there were many taboos, which were strictly observed. For instance, women always had to be covered up when they went out and they were not permitted to associate with men to who were strangers. So that these historical rules could be observed, but to allow some romance and a love interest to be introduced into the film, the screenwriters designed a terrace where men and women could exchange meaningful glances and "have an affair". 

For me films are quite another matter. When I've watched a film, if I'm nervous, happy, angry, or I'm dying to play some kind of game, this means I really liked the film.

- Who was your role model at the beginning of your career?

- Audrey Hepburn. I think the way she played the princess, a nice, na?ve, innocent young girl, will always cast a spell over people. She was an incredible actress! The way she played her parts in such a natural and sensitive manner makes one want to watch the film over and over again. A few years ago I watched the French film based on the life story of Edith Piaf, "La Vie en Rose". Marion Cotillard, who played the main character, was awarded an Oscar for that film. In her time Cotillard received good reviews for her part in the film "Taxi", but she was barely remembered afterwards. Her acting in "La Vie en Rose" made her famous. She was simply entrancing and brilliant in the part of Edith Piaf!  One of my favourite American actresses is Meryl Streep. Her films "The Bridges of Madison County" and "The Iron Lady" are like a manual for anyone in the acting profession. Among the Russian actresses, I have a very high regard for Alisa Friendlich. Incidentally, both actresses have similar acting methods. Their performances are so convincing! Ten years ago I didn't realize or understand how they achieved this effect on the screen, how they were managing to act like that. It was as if they spent their whole lives in the films. After a few years, once I had gained a certain amount of experience in my profession,  I began to understand the nitty gritty of this highly skilled technique.

- Which of Azerbaijan's actresses do you think is noteworthy?

- Safiqa Mammadova is a remarkable actress. Although she has stopped working in the theatre or in films - too early, in my opinion - her acting in all the parts she played was undoubtedly fine and out-of-the ordinary.  I really like Sukufa Usubova as well. She has a delicate, gentle manner unlike anyone else.

- In what way do our actresses differ from those in other countries? Does the concept of mentality exist in the acting profession?

- This is quite a serious and in-depth subject. I think that our actresses are different from those in other countries in the same way as other actresses differ from ours. For example, an Azeri, a Russian, a Turkish or American actress will all play their part in a different way in the same extreme circumstances. There is a reason for this varied approach. I think that when we put on a Russian, English or French play, we don't really feel how it should be acted. The same is true of Americans who act in Russian plays. I find that very interesting, nonetheless. I remember that I came up against this problem for the first time when we were rehearsing "Like a Lion". The main character is a Russian girl, Lena. I had to understand, to get a feel for the character, to get into my head her way of thinking, her mentality and her reaction. I have to admit that that was not very easy, but later on I became aware of one very important thing, namely that true art, like the spirit, does not depend on age, external appearance, ethnic background or mentality.

- You are regarded as one of the best actresses in Azerbaijan today. How would you describe your success?

- I'm extremely grateful to all those who are of this opinion. I really think that my success still lies ahead. At the present time, I am simply trying to put my all into my work. I am a free agent, I don't depend on anyone, and that suits me fine. We actors never plan anything in advance. If someone offers us a good part in a film we work. If not, we just wait for something to come along. I have to admit that actors find long periods without work depressing. I think that a job professionally done should be well paid. If an actor understands that he is being paid for his skill, he will go on developing and improving. I don't think one should stop, once something has been achieved. You have to keep on improving yourself, working on yourself. When Audrey Hepburn received an Oscar for the film "Roman Holiday", she said that now she seriously needed to learn how to act.