Mariam Shahubatyan-Tatieva
Mariam Shahubatyan-Tatieva starred in the first Armenian film, “Namus” (“Honor”, 1925, directed by Hamo Beknazaryan), which was an adaptation of the eponymous drama by Alexander Shirvanzade. Mariam Shahubatyan-Tatieva was not a professional actress at the time. In “Namus”, the young woman portrayed one of the main characters, Susan.
“The greatest difficulties arose during the selection of the lead actress for the role of Susan. A beautiful face, striking poses, and exotic dresses—this is what audiences were used to seeing in our ‘Eastern’ films. However, I wanted Susan to be portrayed as Shirvanzade had envisioned her. After numerous screen tests, we decided to go with a young amateur actress, Mariam Shahubatyan-Tatieva, who was not yet infected with a false sense of tragic pathos. (Later, she became a professional actress)” (H. Beknazaryan, “Memoirs of an Actor and Director”, Yerevan, 1968, p. 143).
The filmed “test footage” was processed in the lab the same night, and the next day, the Artistic Council was able to review the results on the screen of the “Nairi” cinema. Based on the council’s evaluation, “none of the actresses tested were deemed suitable for the roles of Gyulnaz Baji or Susan”. As a result, the roles were offered to Olga Maisuryan, a renowned actress from the Armenian Theater in Tiflis, and non-professional Mariam Shahubatyan. “Thus, the two main roles—Seyran and Susan—were assigned to non-professional actors, who, according to the director, physically embodied the characters as he had envisioned them,” wrote Daniel Dzununi in his book “An Outline of the History of Armenian Cinematography” (Yerevan, 1961, p. 31).
Daniel Dzununi documented several intriguing and noteworthy episodes from the filming of “Namus” (“Honor”) in his book. While rehearsing the balcony scene where Susan and Seyran share an embrace and kiss, Hamo Beknazaryan warns Abelyan: “Everything must seem believable; if you have to slap her, it needs to be done naturally.” Taking this advice to heart, Abelyan immerses himself in the role, delivering a slap to Susan in the kissing scene with such intensity that it prompts a need for medical attention.
The filming was done in a way that felt natural. However, M. Shahubatyan was left with a swollen cheek and stayed home for several days afterward. Every day, H. Abelyan would visit Shahubatyan, bringing a bouquet and sweets as he sought her forgiveness: “Forgive me, dear Manya, it’s Hamo’s fault; he said it had to be natural, and I got carried away.”
Unfortunately, no documents or personal information have been found regarding Mariam Shahubatyan-Tatyeva that would confirm Hamo Beknazaryan’s remark that “she later became a professional actress.”
Material from the collection “Resounding Women of Silent Cinema”
Author: Ruzanna Bagratunyan