Archive for January, 2015

‘Brancusi – amicii si inamicii’ (editie ingrijita de Nadia Marcu-Pandrea si prefatata de Stefan Dimitiriu, aparuta in 2010) este prezentata de Editura Vremea ca al treilea volum al monografiei Brancusi a lui Petre Pandrea. Descrierea este destul de inexacta, caci volumul este mai degraba o culegere de texte intre care cel principal ar fi trebuit sa fie intr-adevar ultima parte a monografiei repinse de cenzura in anii 60, dar chiar si acest text impartit in capitole pare neterminat si nefinisat. Restul este compus din note de lectura, articole biografice si polemice, note de calatorie in forme mai mult sau mai putin finite, recuperate cu grija si evlavie de cei care au alcatuit volumul dar atasarea lor capitolelor de monografie produce un ansamblu lipsit de consistenta, plin de repetitii si fara o linie calauzitoare unica asa cum ar avea o monografie terminata. Culegerea este desigur interesanta si in ceea ce-l priveste pe Brancusi si in ceea ce priveste atitudinea lui Pandrea fata de Brancusi si de cei care-l inconjurau pe acesta, dar ea spune in cele din urma mai multe despre autorul cartii decat despre subiectul ei.

 

sursa http://www.edituravremea.ro/brancusi.-amicii-si-inamicii.-sociologia-lui-brancusi

sursa http://www.edituravremea.ro/brancusi.-amicii-si-inamicii.-sociologia-lui-brancusi

 

Ideea calauzitoare a cartii lui Petre Pandrea este cea prin care exegezul, admiratorul si prietenul lui Constantin Brancusi intra in polemica directa cu o parte dintre ‘brancusologii’ din tara si din strainatate in ceea ce priveste formatia culturala de baza, educatia artistica, si incadrarea lui Brancusi in lumea artistica pariziana.

‘In opozitie cu teza ‘Ciobanului din Carpati’ si cu aceea a ‘Sfantului din Montparnasse’, rog sa mi se ingaduie a emite ipoteza si a prezenta portretul lui Brancusi ca pe un ‘Erasmus din Montparnasse’, un umanist polivalent, un intelectual rafinat, un filosof si un moralist, un spirit esopic grefat pe un fond de filosofare stoica rurala a stramosilor sai tarani si mosneni, o aparitie a iluminismului progresist oltean din etapa capitalismului comercial in Romania si a mercantilismului cobilitar craiovean plecat in emigratie.’ (pag. 106)

In mod argumentat si documentat Pandrea respinge atat caracterizarile paternaliste ale unor exegeti occidentali, o parte dintre ei oameni care l-au cunoscut pe Brancusi, care minimizau nu numai persoana artistului ci si cultura din care acesta provenea, ca si simplificarile ideologice si ideologizante ale propagandistilor Romaniei comuniste. Brancusi este incadrat in Europa pentru ca Romania si Oltenia din care vine sunt parti integrale ale Europei.

‘Spiritualitatea romana nu poate fi nici chinoiserie si nici exotism nipon. Prin traditii si forte creatoare, suntem incadrati de milenii in preajma Balcanilor, in Europa centrala si sud-estica.’ (pag. 42)

Respingand teza ‘ciobanului’ ajuns in peregrinare la portile Occidentului, Pandrea il prezinta pe Brancusi ca pe un tanar educat, artist deja format intr-o scoala locala, dar nu lipsita de valoare si rafinament, pornit intr-o calatorie de cunoastere si descoperire spirituala:

‘C. Brancusi a sosit la Paris ca ‘Wandervogel’ (pasare calatoare), intr-o calatorie de studii in muzeele din strainatate, care a durat doi ani alaturi de Petre Neagoe si alti mestesugari tineri plecati pentru perfectionarea mestesugurilor. “Pasarile calatoare” nu sunt turisti mediocri si acefali, vizitatori superficiali, plicitisti si plicticosi. “Pasarile calatoare” de la 1902 – 1904 erau tinerii valorosi, de diferite nationalitati, plecati in grupuri, din sete de cunoastere a lumii si pentru ameliorarea mestesugurilor deja capatate. Fusesera ucenici si calfe, si deveneau mesteri.’ (pag. 53)

 

sursa http://ro.wikipedia.org/wiki/Petre_Pandrea

sursa http://ro.wikipedia.org/wiki/Petre_Pandrea

 

Interesanta si nu lipsita de originalitate este plasarea originilor artei, personalitatii si caracterului lui Brancusi in spatiul de matca al Olteniei. In Petre Pandrea, Oltenia isi gaseste unul dintre cei mai expresivi si mai documentati sustinatori si suporteri ai unicitatii istorice si culturale deseori neglijate si minimizate a acestei provincii in spatiul romanesc.

‘Cei mai buni ostasi, cei mai multi generali, cei mai multi jandarmi, prea multi ministri si o liota de prim-ministri au fost dati de Oltenia … Olteanul Constantin Brancusi s-a autoportretizat si a schitat pe localnicii dornici si ambitiosi, lansand aforismul pedagogic: “Sa creezi ca Dumnezeu, sa comanzi ca un rege si sa muncesti ca un sclav”. Levantinii nu creeaza, ci desfigureaza, nu muncesc ci jefuiesc, si sunt ahtiati dupa tiranie sibarita. Mentalitatea Valahiei Mici se afla, de multe secole in conflict deschis sau larvat cu mentalitatea bizantina a Capitalei Valahiei Mari. Aici sunt radacinile bancurilor despre olteni: invidia si ranchiuna. Oltenii au luat locul evreilor in satira. ‘  (pag. 26)

Unul dintre textele minore face chiar o interesanta paralele intre Oltenia si Irlanda, intre Brancusi si Joyce. Merita citit.

Petre Pandrea intra in polemica directa cu cei care au creat imaginile alternative si deformate ale lui Brancusi, cei pe care fara ezitare ii incadreaza in categoria ‘inamicilor’. In sprijinul opiniilor sale unul dintre argumentele principale este cunoasterea directa a artistului in anii tineretii (lui Pandrea) petrecuti la Paris si prietenia pe care marele sculptor i-a acordat-o.

‘Am descoperit, cu acest prilej, un compatriot fermecator si solidar cu Oltenia lui, desi o parasise de patru decenii si, aproape, nu-i mai stia limba. Am descoperit un ganditor si un intelept. Vazusem multi oameni mari in tara si in strainatate dar, in preajma lui, am simtit aripa geniului falfaind spre suav.’ (pag. 37)

In incercarea sa de a demonta stereotipurile de ‘vagabond’ sau ‘cioban’ aplicate lui Brancusi, Petre Pandrea demonteaza in mod argumentat opiniile si caracterizarile lui Ionel Jianu, eseist si promotor al artei brancusiene considerat pana in ziua de azi unul dintre expertii cei mai reputari in materie. Jean Cassou – poetul, criticul de arta si primul director al Muzeului de Arta Moderna din Paris – este si el contrazis cu argumente si viziunea sa brancusiana aspru criticata pentru simplism si prejudecati culturale. Nu ies bine de sub pana lui Pandrea nici Marcel Mihalovici pe ale carui relatari se bazeaza Jianu in parte din argumentarile sale si nici ‘Peghita’ Guggenheim care este criticata aspru pentru un episod care in perspectiva istorica pare destul de marginal – incercarea de a-si adjudeca la un pret sub valoare (dar ce pret poate fi la valoare?) una dintre versiunile pretioase ale Maiastrei. Ciudata pare inversunarea lui Pandrea fata de Tristan Tzara – este adevarat ca Brancusi nu va fi avut o parere prea buna despre poetul decazut social intr-o anumita perioada, dar asta parca nu justifica repetata minimizare pana la marginea calomniei si a negarii rolului acestuia in geneza dadaismului si a avangardei artistice a secolului 20.

 

sursa http://the189.com/sculpture/constantin-brancusi-artist-and-sculptor/

sursa http://the189.com/sculpture/constantin-brancusi-artist-and-sculptor/

 

Biografia personala a lui Petre Pandrea a fost franta de ascensiunea comunismului, miscare pe care omul de stanga si juristul Pandrea a sustinut-o inca din anii ilegalitatii. Legaturile de familie cu Lucretiu Patrascanu si activitatea de jurist in apararea unora dintre ‘exponentii burgheziei’ (dupa ce ii aparase pe comunisti sub regimurile precedente) l-au costat pe Pandrea ani grei de inchisoare intre 1948 si 1952 si intre 1958 si 1964. Nu este de mirare ca lipsesc din carte referiri la oferta facuta de Brancusi statului roman de a-si lasa atelierul si o parte din lucrari mostenire natiunii, oferta refuzata de autoritatile comuniste ale anilor 50, posibil ca Pandrea nu a stiut despre acest episod, sau nu a dorit sa scrie despre el. Mai surprinzatoare mi s-au parut in perspectiva istorica ramasitele limbajului de lemn si ale ideilor schematic-doctrinare (referirea la ‘primul 1 Mai liber’, apologia biografica a lui Marx care l-ar fi facut sa rada in hohote pe Paul Johnson), mai ales cand acestea vin de la un om care nu numai ca a trecut prin Gulagul romanesc, dar a si avut curajul sa-si astearna pe hartie cele traite acolo.

‘Sunt, in sfarsit, pe povarnisul varstei, spre marele hau. Consemnez in cele ce urmeaza, fragmente de conversatii din oralitatea prestigioasa a lui Brancusi, ca si povesti ale ucenicilor romani ai lui, despre neuitatul maistru, care avea o doctrina morala a stramosilor… La 60 de ani, simti pasii de lup ai mortii care dau tarcoale. Incepe inserarea melancolica inainte de marea noapte.’  (pag. 32-33)

 

Poate ca aceasta carte a lui Petre Pandrea ar trebui citita mai mult in acesta tonalitate de testament memorialistic. Pandrea insusi a avut un destin zbuciumat, si marea lumina a vietii sale a fost intalnirea cu geniul si cu omul Brancusi. Despre el a scris pagini memorabile, i-a gasit asociatii si filiatii unice in Creanga si Joyce, i-a trasat radacinile intr-o Oltenie descrisa ca un spatiu distinct, original si puternic. Pline de miez, respect si nostalgie sunt relatarile despre personalitatile Olteniei cum ar fi Felix Aderca, sau povestirea primei calatorii facute la iesirea din inchisoare in 1964, in cautarea radacinilor lui Brancusi si a propriilor sale radacini. Mai degraba si mai mult decat un volum final al unei monografii a unui mare artist aceasta carte este o incheiere a unei biografii spirituale a autorului cartii insusi.

 

Lucy was supposed to be a film I should highly enjoy. I love not only for the way she looks but also for daring to undertake complex and different roles that put at work her acting talent. Science fiction is one of the genres I like most. I liked everything that  does … actually everything he did until this film. In my opinion ‘Lucy’ is a low for both Scarlett and Luc as well. It’s not terribly bad, as they are too good artists and professionals to fall too low, but it’s highly unsatisfying, well below expectations.

 

source www.imdb.com/title/tt2872732/

source www.imdb.com/title/tt2872732/

 

Readers of popular science magazines, or watchers of the similar TV shows should be already familiar with the scientific pretext of the film. The complex and sophisticated computing machine which is our brain is barely used, maybe at 10% of its capacity. If somehow (maybe using a blue powder drug!) the brain efficiency was used at a higher percentage the respective individual would get capabilities that are well beyond average to the point that they may seem superhuman to the other mortals. This is what happens to the hero in ‘Lucy’ but the problem is that the combination of sexy techno-thriller does not work well with the pseudo-science in the film. Talking about the meaning of life and universality of time in-between car chases and the destruction of the French Academy by bullets and mortars is some kind of fun, but not much more.

 

(video source MOVIES Coming Soon)

 

When talking about many other films made in Hollywood I have often complained about their length. It’s seldom today to find a feature film that does not reach 120 minutes of projection, and in many cases American (and not only American) productions exceed the 150 threshold, without any consistent gains in complexity or quality, but adding time resistance to the qualities required from viewers and justifying to some extent the additional ticket prices. ‘Lucy’ is only 85 minutes long credits included and this may be one of the reasons it feels like hurried and superficial, with the main ideas exposed like in a crash sciences lesson and all the characters with the exception of the main hero reduced to uni-dimensional sketches, without any character development. It’s just a pity to see the talent of such fine actors like  or wasted in such a way. The becoming of a genius and superhuman is described in a manner that is neither too original, nor too spectacular, and the smart dialogs between the beauty who became a genius and the scientist whose role seems mostly to be amazed without being able to help are just deprived of any emotion. There is one sentence about losing the capability to feel which if developed could have added a very different dimension to the film, but it was lost in the rush. When time becomes a dimension to be transgressed the journey looks more like an adult version of the ‘Night at the Museum’ which may run in the neighboring cinema hall. And that cinematographic metaphor reminding a famous ceiling painting? is it parody?

‘Lucy’ has many good premises and wastes most of them.

It’s really amazing that ‘Nightcrawler‘ is the first directing achievement of Dan Gilroy – whose record only includes a few scripts (one of the Bourne series movies among them). It’s a real catchy, witty, brutal and realistic story about the thirst for sensations in the news and the monster it creates. It’s also a very well written story (Gilroy authored it as well) with crisp and interesting characters which we keep discovering as long as they are alive on screen. The visuals also have quality – on one hand I have visited Los Angeles recently, so I could not only recognize the places but also feel the atmosphere, on the other hand much of the action happens at night and is news related, so the nervous camera moves with focus on blood and violence makes a lot of sense.

 

source www.imdb.com/title/tt2872718/

source www.imdb.com/title/tt2872718/

 

The main character, Louis Bloom is unemployed. I suspect that the proximity with another more famous character L. Bloom is not coincidental, as like Joyce’s Ulysses he is wondering at nights in a big city, looking however to more earthly matters of life. He is a smart unemployed who spends his time navigating the Internet in search of educational and motivational stuff that can push him out of the current status of small criminal, steeling metals and selling them by the pound. The only problem is that nobody wants to hire him, despite his verbal skills of self-promotion, and the reason is bluntly put to him by a potential employer: ‘I am not hiring thieves’. There is however one industry that does not seem to have such scruples: it’s the crime news industry. Local TV networks are ready to pay good in order to serve their customers (us!) the bloodiest news and the most graphical images at breakfast time. Bloom will soon learn the technicalities of the profession, and find inside himself enough resources not only to survive but also to become successful in it.

 

(video source MOVIECLIPS Trailers)

 

The action takes place in Los Angeles, and we can even see the Hollywood sign at some point, but it’s far from the typical Hollywood production. It actually has more of an indie atmosphere, and reminded me at some moments ‘Drive’ which was released three years ago. Same intensity, same fringe world. The difference is in the approach. There are no good guys in ‘Nightcrawler’, maybe the exception of Lou’s assistant Rick (played by Riz Ahmed) who does not have much chance of survival in the world described by the film. The film takes also a sharp critical stand about the business, work and human (or should I say inhuman?) relation in the corporate world of America. The words we can hear day to day in the corporate environment sound so natural in the mouths of the criminals. Something must be wrong with the words or the way they are used.

On a higher level however the film is not only about the industry and one specific character that makes his way in it. It is also about the audiences who create the demand for sensationalistic news soaked in blood. About us.

Much of the quality of the film relies on ‘s performance as Bloom. Gyllenhaal has in this movie the sparkle, darkness and craziness of the big roles. He may not get the Academy Award this year, but he is getting close to that level. also provides an excellent support as the hungry producer ready to accept almost anything and to bend almost any moral or legal rules in order to rise the rating of her news show.

This was the first movie I have seen in 2015. I can only wish that the year in movies will be as good as this one.