Entries tagged with “Victor Rebengiuc”.


What critics and audiences call ‘the Romanian New Wave’ is not that new any longer. Already in its teens it has focused on the present times, and the recent past of Romania – the last decade of the Communist era and the ‘transition’ period the country went through after the fall of the Communism. By doing so it neglected a tradition built into the history of the Romanian cinema – the historic movies. The first grand Romanian movie made more than a century ago was already a historic film, bringing back to screen the War of Independence of Romania in 1877 several decades after the event. The genre was taken over and polluted in the Communist period by many films which not only brought on screen heroic episodes and heroes of the Romanian history but also distorted it on the lines of the National-Communist propaganda of the regime. This may be the reason Romanian directors, producers, and audiences as well avoided the genre for a while. It is only in the last few years that historical themes came back to screens in more significant movies – the war period and the Holocaust first. Now ‘Aferim!’  by Radu Jude goes further back in the past, to the first half of the 19th century. His film (blessed with an important prize at the Berlin Festival early this year) however has also strong and explicit implications in the realities of today’s Romania as well.

 

sursa http://www.imdb.com/title/tt4374460/

sursa http://www.imdb.com/title/tt4374460/

 

Folks who know the history of Romanian cinema and remember some of the films made decades back will recognize elements of atmosphere and quotes. The ‘Eastern’ genre which took the structure of the classical American Westerns bringing on screen local characters or even changing the landscape to the fields, forests and mountains of the Romanian countries was popular in the 70s with the ‘Haidouk’ series but also in the works of Dan Pita (the ‘Ardelenii’ series). The inspired black and white cinematography credited to Marius Panduru  and the very conventional generic that opens the film brought in mind the even older ‘Tudor’ by  made in 1962 which dealt with events that took place 14 years before the year 1835 when ‘Aferim!’ is situated. The violently naturalistic nature of some of the scenes has also its roots in the Romanian literature (Liviu Rebreanu’s novels) which were also brought to screen.

Yet, this film aims more. The story of the local sheriff (let us use this name for the sake of the international audience) and of his son searching for a fugitive gypsy in the forest and swamps of Wallachia is not just a road movie or an initiation story from the perspective of the young lad destined to inherit the profession of his father. It is a deep and cruel reflection of the prevailing attitude not only of the ruling class but of the whole or great majority of the population of Romania towards other nationalities. The story and the characters come in a frontal manner against deeply rooted stereotypes like the welcoming attitude of Romanians towards strangers or the positive role of the Orthodox church in the moral fiber and education of the masses. It is actually a priest who speaks on screen a tirade full of prejudice against all categories of strangers living or getting in contact with the Romanian at that time – Gypsies of course, but also Jews, Turks, Russians, etc. Folks less familiar with the history of Romania should know that by 1835 Romania was still broken into smaller countries under Turkish, Austrian and Russian rulers – so what is seen on screen has a historical perspective. It is however the relation with the present that comes in mind immediately for those who know history and present. Romania as other East European countries have a big social and ethnic problem with the lack of integration of part of their Roma (gypsy) minorities. The roots of this situation lay to a great extent to the slavery practiced on this minority until mid 19th century. Slavery was abolished (in 1855-1856) but prejudices stay.

 

(video source Agentia de Film)

 

The merit of Radu Jude is to avoid any excuse or sweetening of the historical facts, while telling a coherent story and creating characters who are not only credible but also memorable. He carefully builds the atmosphere, habits, language of the time in a well documented manner. He is helped by a fine team of actors -  and as the father and son, as the fugitive (would have deserved maybe more screen time to give more complexity to his character), and  as the cruel but credible landlord. Two of the best actors of Romania from the older generation  and  appear in short roles, which shows that even important artists were interested to be part of this cinematographic experience. I feel that ‘Aferim!’ is a film that was much talked about since its release, and will be even more talked about in the future.

 

Daca filmul acesta ar fi fost facut acum vrei zece ani ar fi fost considerat un eveniment cinematografic. In 2000 sau 2002, inainte de ‘Moartea Domnului Lazarescu’ si de ’4 luni, 3 saptamani si 2 zile’ un film care sa abordeze cu atata sinceritate, seriozitate si sensibilitate perioada tranzitiei anilor 90 ar fi fost o reusita suprema. Faptul ca in 2013 pot scrie oarecum critic despre acest film realizat in 2009 arata cat de mult a progresat filmul romanesc in acest ultim deceniu.

 

source http://www.cinemagia.ro/filme/medalia-de-onoare-20803/

 

Medalia de onoare este un film bun din multe puncte de vedere. Este bazat pe un scenariu bine scris, aduce pe ecran personaje si conflicte credibile, si spune multe adevaruri despre Romania anilor 90 si modul in care o parte din societatea romaneasca a trecut perioada tranzitiei. Problema filmului este ca multe dintre elementele sale pozitive repeta, aproape ca citeaza alte filme. Victor Rebengiuc si Mircea Andreescu joaca excelent, dar rolurile lor par variatii ale celor jucate deja in filme anterioare. Scena finala a mesei de reuniune pare o parafraza la una dintre cele mai bune scene ale lui ’4,3,2′. Comentariile sociale despre situatia pensionarilor sau despre viata la bloc au fost si ele prezentate in multe dintre filmele precedente. Stiu ca aceasta este viata multora dintre romanii de atunci si de astazi, dar veridicitatea nu se transforma automat in calitate artistica, mai ales daca este repetitiva.

 

source http://cinesseur.blogspot.co.il/2010/11/medalia-de-onoare-revelatie-la.html

 

Ideea pe care se bazeaza scenariul este insa originala si interesanta. Ion I. Ion (nume caragialesc de banal care sugereaza prototipul) este pensionar si pe langa problemele materiale ale tranzitiei mai traieste si o cumplita ruptura in familie de care este doar el de vina. In anul premergator caderii comunismului isi ‘turnase’ propriul baiat care planuia sa ‘fuga’ in occident. Din acest motiv este ostracizat de familie, sotia si fiul intre timp stabilit in Canada nici nu-i mai adreseaza cuvantul. (cum de mai intretin vreo relatie cu el este un mister!). Cand o scrisoare de la Ministerul Apararii il anunta ca a primit o medalie pentru fapte de eroism comise in razboi cu 50 de ani in urma, se iveste ocazia sa se reabiliteze in ochii familiei, in ochii vecinilor si mai ales in proprii sai ochi.

 

source http://cinesseur.blogspot.co.il/2010/11/medalia-de-onoare-revelatie-la.html

 

Aici trebuie sa remarc doua calitati deosebite ale abordarii regizorale a lui Petre Calin Netzer. In primul rand faptul ca spectatorii sunt lasati sa descopere singuri si treptat relatiile dintre personaje, cauzele aitudinilor acestora, si povestea de fond care declaseaza intreaga situatie. La fel, cu rabdare, cu discretie si cu sensibilitate este descrisa evolutia relatiillor dintre eroul filmului si lumea din jur, sansa de reabilitare pe care o joaca, recastigarea treptata a increderii de sine si respectului celor din jur, cu toate ca nici eroul si nici spectatorii nu pot fi siguri pana in final daca este vorba despre o reconciliere reala sau inca un sir de iluzii si un ultim compromis. Distribuirea fostului presedinte Ion Iliescu in ceea ce se cheama un rol cameo este o gaselinita simpatica, nu stiu daca trebuie neaparat sa ii cautam vreun subtext.

 

(video source MrCrynickYT)

 

Interpretarea actoriceasca merita cateva randuri. Victor Rebengiuc domina intreg filmul intr-un rol care aduna in el toata povara epocii in care traiesc si a celei din care au iesit personajele, cu problemele materiale, cu traumele fricii si ale compromisurilor de ieri si ale necunoscutului si incertitudinilor de maine, cu lumea care se schimba in jur si care nu mai intelege vechile conventii si relatii si mai ales care a pierdut orice respect fata de ceea ce era inainte respectabil. Camelia Zorlescu, o actrita pe care eu nu o cunosc aproape de loc ii da replica pe masura lui Rebengiuc, si dovedeste nu numai ca seamana fizic izbitor cu Helen Mirren, dar are si calitati artistice comparabile cu celebra ei sosie. Radu Beligan, Ion Lucian, Mircea Andreescu – joaca minunate roluri episodice si este poate pentru ultima data cand aceste mari stele ale ecranului romanesc s-au aflat impreuna pe genericul acestui film. Dar – si aici este un dar – interpretarile lor sunt pe de o parte magistrale, pe de alta parte tributare stilului vechi de film romanesc, si asta intr-un film care stilistic aspira sa apartina noii scoli laureate cu succes si recunoastere internationala. Putem privi asta ca o nepotrivire de stil, putem privi insa si ca o predare de stafeta, un adio si o reverenta reciproca intre generatia maestrilor actori si cea a mai tinerilor creatori ai noului cinema romanesc.