Gioconda ohne Lächeln

the seal of period. this is the basic aspect who seems be most important in this film. the desire of Malvina Urșianu to send her message in the most useful manner, with small ideological compromises, using the right actors and giving new nuances to a classic theme.for many viewers , it could be strange. the cold words from dialogues. the slow rhythm of story. the artificial poetry of emotions, the sentimental triangle looking recreating and, maybe, change the past. in fact, it is a splendid film. first for few superb scenes - the dialogue in church is only one-. the second - for the special romanticism who becomes map for memories of public. and for one of admirable roles of Ion Marinescu, confiscated, in too many occasion, by the propaganda machine. sure, Silvia Popovici remains the star of a film who remains a kind of eccentric gem of Romanian cinematography.

it is a beautiful film. against itself.because the cliché, the seal of period, the dialogs as cold swords are only details. the final taste, the waves of the past strips, the failure and price of normal existence, the life and the love as isles of ash and smoke are pieces of a touching message. it is first movie by Malvina Urșianu and, in fact, it is only a map of her filmography. not only for the themes but for the image, cast and exploration of delicate territories. for a special manner to guide actors. so, against many not very good critics, I admit, I love this film. for the performance of actors. for Silvia Popovici as Irina , for the science to transform a film for intellectuals in more than a fresco or tool of propaganda but as honest picture of almost hidden reality.