time ago I began a series of comments on the filmmaker Emir Kusturica that I was half done and what to publish much at full speed. Angelopoulos albeit 'm trying to be a bit more methodical (the streak will not last long, I fear, especially when they have already released gems like Haneke's Cache or Von Trier Manderlay on which I could not " Onanizer " to taste), it is true that today reviewing "Ulysses' Gaze" I discovered a strange link between the two figures. The two ( Angelopoulos and Kusturica) have been, in all likelihood, the best European directors in dealing with the Balkan war, its antecedents and its consequences. Kusturica want to do a portrait of a savage thug full of gypsies Bosnia and orchestras. Angelopoulos want to do a portrait of Greece full of references, pedantic and somewhat culturetilla. That's because Kusturica Angelopoulos is a thug and a pedant, obviously. "Life is a Miracle" (and the fabulous "Underground") is coiled with singular brilliance of the consequences Tito government of the Bosnian people. "Ulysses' Gaze" continues the same way, but the crosses with the count, with the intention of the director talks about making films.
In one comment on "Ulysses' Gaze" that can be found on IMDb reads: "Is director Theo Angelopoulos the most pretentious of movie history?". It's an interesting question, which was launched with a lot of bad blood and a point. But I'll play the madness and I will answer that question with some caution: No, but close. Angelopoulos is pretentious enough to try to adapt the key work of literature (if you can say is a classic "The Odyssey" if is a modern can say "Ulysses" by Joyce ) in the key of a subjectivity that sometimes seems obscene. It's obscene, I want to emphasize, as of a sincerity is disarming. Angelopoulos is portrayed himself in the armor of a Ulysses / Harvey Keitel looking film, crying for her mother, who is lost in the fog of Europe. The film works (perhaps the best director) because their rules are very simple: Créans you what they please, set the images as they please (from outside the film, judging by the many spectators who left room at the time of release) and live in history as they please. "Ulysses' Gaze" takes the metacinematográfica passion hand (for which figures are also passed as Kiarostami, Welles Wilder or, to give three examples) and transferred to a Bosnian war full of magic, film, painful. The character of the old man (Erland Josephson superb ) who collects cans of film while the country disintegrates, broadly speaking, the more poetic portrait of the figure of the film buff that I've seen on a screen. Theo Angelopolous
is (high and still) presumptuous enough to dare to make films for a period exaggerated, an unacceptably slow pace and ideas misty that come and go. On the other hand, is able to make these films work precisely because of his undeniable passion for the image, something I have discussed here. "Ulysses' Gaze" would be perfect for explaining to students of Communication Studies how to build a sequence shot, a fixed plane or parallel editing. It would also be perfect, of course, to demonstrate that distant countries can not make movies that speak to the discretion of the civil wars that are not resolved at the national outburst / nationalist.
Theo Angelopoulos, finally pretentious enough to wipe your ass the golden rule that movies have to last 90 minutes, have about 600 cuts up and be editing easy and digestive enough to be enjoyed by spectators who attend mediocre rooms to talk on the phone and comment tape with the next door.
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