De ce trag clopotele, Mitica?

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.

Today I finally watched this movie with English subs, This movie looked bigger to me when all its dialogue was just a guess, when I first watched it, it was the Cairo festival the early 80's. I was a teenager, with good knowledge only of English, and the movie had no subtitles, by the middle of the show I said to myself: That is the best movie I ever seen, It was the transitions of the camera between the absolute and gross absurdity of a colorful human play and the gravity and silence of the horizon that made a distinction for this movie, almost all works centers about something, some meaning,

but this work centers about the idea of nothing?!which is the whole thing... all existence.

the idea of how trivial and frivolous all human desires and intentions are , a man brawling madly after a man to tell him : "don't slap me"!!!? a patriot shouting about patriotism while naked in a public bath !!? a man crying for the death of his dearest fellow, another man drinking in the honor of the occasion then a cow's mouth is chewing a branch in a lengthy shot, no big difference between most (seemingly) serious human emotions and the stomach emotions of a cow. (no exclamation needed!!) Three strong shots count: the sudden halt of the carnival(human life) and start of a serene but dirty landscape followed by the bells tolling, The dressed dog looking from the window in awe while the cast are singing carelessly out of tune opera, as if the dog was feeling something serious!, the dirty nature again with the shouting of a man's death and then the display of a white dog laying dead, then the zombie walk of the men in a slow rush to express the triviality of their life ending by death, (existence and what does it matter)

finally the carriage slipping into mist in a sign of drifting into eternity at last, but the director then ruins even that only possible meaning of humanity by entering himself into the camera shot talking in a microphone, by that confirming that even what could be called human destiny or eternity is also mediocre, an existence deprived of all meaning, why are they tolling the bells for? there is no such a thing as why, no reasons exist, why an onion?! an onion is just an onion , it could have been any thing else. The bells are tolling just because they have ropes attached to them, when it is moved the bell moves with it and ring, that is the whole story nothing else, not births not weddings, not funerals, not any human business that is the truth of it they toll because the ropes were pulled, and why? that's it because they are there! The ants living on the elephant's body , they cannot picture the whole elephant, but yet it seems possible occasionally.

I was expecting for quite a while to see this movie, which is kind of a legend in the history of the Romanian cinema. Filmed at the beginning of the 80s and inspired by the work of the genial humorist and play-writer Caragiale, the film was banned until the fall of the Communist rule. Caragiale who lived and wrote 80-90 years ago was too actual and too subversive for the Romanian censorship, and so was the treatment he received under the hands of Pintilie, one of the greatest film and theater directors of Romania.

And yet I was disappointed, because the film is too much marked by the poor technical means of the Romanian cinema of that time. It is not that the film lacks vision. Using texts from Caragiale's plays and short stories Pintile creates a vision of Romanian low class suburbs ('mahala') which is both true to the past and present but also somehow prophetic for what Romania went through after the fall of the communism. An exquisite team of the best Romanian comedy actors gives great performances, with Mariana Mihutz shining over all other. And yet, the story telling lacks fluency, and the rhythms and colors are too often broken by the confusion created by poor technical quality. Too bad - this could have been a masterpiece of the Romanian cinema.

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?

Not the best cinematography (who cares?), not the best acting (who cares?), not the best script (who cares?), but... It has a story, it has wit, it has fire, it has no dead moments, it is true, it has a heart, it has a strong punch at the last scene... It has everything to want to watch it again, and again. You want to be one of them because being one of them makes your blood boils, makes you cry with them because of petty lies, makes you smell the sweat of the wild party... At dawn, when the fumes of the heavy drinking start to dissipate you want to pull yourself together because of the hard-to-digest answer.

It is where Kusturica was invented. It is where Kusturica learned his metier.

Isn't this enough for a true experience?