De ce trag clopotele, Mitica?

I went to the movie premiere. I was studying acting at the time and the classes were cancelled so all the students could attend the event. This movie marked the return of the "great" Pintilie from France. And, by the way, I studied acting at the beginning of the 90s. So, whoever wrote the article got the Romanian release year wrong. It must have been 1990 or 19991. Pintilie was long expatriated and living in France in 1982. No way Ceausescu would have been pleased with him running around Buftea or other locations, to make a movie and release it in Romania.

Anyway, I remember that, when we left the theater, at the end of the movie, weirdly enough, we all had terrible headaches, which everyone admitted to. What not everyone admitted to, though, was that Pintilie simply made a down-right mockery of the unique Romanian humor that Caragiale was the embodiment of.

I would characterise Romanian humor as positive, light-hearted and intelligent. What Pintilie did was to replace the intelligence with bitter sarcasm and the positiveness and light-heartedness with ill will and disdain. He used a notorious work of art to boost his homecoming, the same way he used a plethora of extraordinarily talented Romanian actors, in the making of this movie. I wonder if they knew what they were getting into...

No wonder no one laughed or even smiled during the presentation. Pintilie politicized a classic comedic masterpiece, to fit his agenda, whatever that was. He wanted to represent himself as an outspoken dissident, in a country that had recently overthrown a communist government. But where was he when that happened, because he returned to Romania after the fact.

I actually tried to find some blinding-shiny moments in Pintilie's career during the time he was living abroad but no record of such highlights seem to really exist. As if, only in Romania, he was unconditionally praised and welcomed with opened arms.

Is this why he was mad? Is this why he wanted to crush the essence of Romanian humor, because misery wants company? In my opinion, Pintilie acted like the teenager who runs away from home with unrealistic expectations and when he faces rejection, he comes back home and takes his frustrations on his parents.

I haven't met Pintilie in person but I met artists who knew him well. Some were fallen under his spell and some were not. But by all accounts, it seemed to me that Pintilie managed to build an aura of of intellectual and creative superiority around him. And no one was really willing to burst that bubble out in the open.

I cannot speak about Pintilie's work before France, because I'm not familiar with it. All I know is that I tried watching a couple of other movies that he made after his return and could not bear to watch them until the end. And, no, I'm not a brainless actor or lacking education. I would firmly say, quite the contrary. And this is why I don't care to fit in and go with the trend. This is why I cannot be fooled by smug intellectualism and pretentious accolades that have no base in reality, either. So, if this movie is "not so well known", maybe it's not really a "pearl". How about it?

I stumbled upon this by chance and saw that it had been banned on release. I took a chance on the DVD, which if you get it is of pristine picture and audio quality; and what a revelation the film turned out to be. I agree with some of the other reviewers, this must have been where Kusturica got his inspiration for 'Underground.' The acting is superb across the board and as the mayhem escalates, so does the cleverness and general franticness of the cinematography - the whole thing is so tight and nothing, incredibly, seems forced. Another reviewer has remarked on the low technical elements of the film, I must admit, I didn't notice them. It's clearly a product of its time but holds up very well (I watched it in the tail end of 2020.) Lucian Pintilie is one of the giants of Romanian cinema and from the ones I've seen, this is probably his masterpiece. Seek it out, you're in for a special treat.

Although not so well-known as others East European cinemas (Polish or Czech, for instance), the Romanian school managed to produce several high-quality movies. One of them -- some would say the best -- is "Why do they ring the bells, Mitica?".

Inspired by the work of the Romanian play-writer I.L. Caragiale, a bitter-funny witness of the 20th turn-of-the-century Romanian burgeois mores, the movie manages to grasp the cheap, frantic, colourful and slightly hysteric atmosphere of Caragiale's plays.

The movie's director, Lucian Pintilie, is one of the few success stories of the Romanian cinema. He turns the classical, linear plot of the play into a zigzagged scenario, combining it with several other Caragiale's short-stories. The result is a weird combination of crazy carnival scenes and short, alienated insertions reminding of Antognioni's "Red Dessert". A burlesque, fast-paced, snowball-like comedy (because, after all, *it remains* a comedy) with plenty of post-modernist auto-reflexivity and deep meditative undertones.

In fact, these undertones made the Communist regime to ban the movie during the '80s, considering it as having a strong subversive potential. (This was not the first Pintilie's banned movie in Romania: during the '70s, another one, "Reconstituirea", a satyric critique of the totalitarian Communist regime, was added on the black list of forbidden movies).

But, IMHO, the strongest part of this movie is not the director or the fact that it spoke up against a totalitarian regime. Its best moments reside in the tremendous performances of the actors. Rebengiuc, Dinica, Mihut, Diaconu, Vasilescu -- to name just a few -- give their best acting experience in this movie. It is a pity that they are not so well-known outside the Romanian cultural sphere...

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Think of this movie as a Romanian "Firemen's Ball" or a Balkanic "Il Vitelloni", but with a finger stuck on the fast-forward button, and you'll have a good approximation of it. :o)

Is quite a simple movie to look at, as it does not contain way to much Romanian traditions that cannot resemble other cultures. The revelations come a long time after you saw it for the first time, when still part of the story is un-ended in your head, when you go through your life and see that mankind goes from absolute stupidity to geniality in a split second.

It does not matter the dramas, as it does not matter the story more than to give you a good perspective on hard life and easy living.

After seeing it twice you take this movie from a 7/10 to 9/10, 'cause your life perspective has changed.

There is more than an eye can meet.

This is not meant to be useful, don't read more, see the movie.

this piece of art is an internal reflection of a the human being who doesn't know his origin nor his destination, no beginnings or endings symbolized by the vain corrupt actions that he might commit at any time and an open but morbid infinite sky which keeps on appearing above a gypsy land. most movies which had some of that, like Satan's tango, or Underground were not on the level of this movie, until today I haven't found the English translation, but this movie is like a song written by Ache and Jethro Tull and Paganini all together. The philosophical content of this movie is not present in Swedish works by Ingmar nor films like songs from the second floor. As a whole I haven't seen much art in American Cinema, so we may set this movie as the only movie to belong to art as in music and painting, and hence as the best film until today. Congratulations to the director.