California Dreamin' (Nesfarsit)

It's always touchy to look and judge unfinished work. Nemescu's death was perhaps one of the cruelest things to have happened in 2006 (a year of sufficient cruelty), as it always is when young, talented people fade out too quickly. Yet, in watching "California Dreamin'" I cannot but accept the fact that this may not have been the director's final vision, while still going on to comment on the things I saw and felt. What might have been, what could have been - these are things of the past. We have to enjoy "California Dreamin'" for what it is and judge it accordingly.

The story of Capalnita is a sad one, as it is the story of many parts of Romania, a country in desperate need to be seen and heard. While the movie takes place on a more personal level, the allusion is inescapable, as are quite a few other things about life around here.

The main plot revolves around a NATO transport sent to Kosovo by train, which is stopped in - literally - the middle of nowhere, by a station conductor who claims he wants to see the transit papers for whatever is being transported. As these documents are missing, he decides to pull the train over until the necessary papers come through. The convoy's American forces accept this delay grudgingly, but they quickly join the celebrations held in their honor by a mayor who sees profit opportunities in the unexpected turn of events. Soldiers get together with local girls, love and sex stories unfold, with no actual surprises to the mature mind. In the mix is a young local boy, head over heels in love with the most attractive girl from the village - a common story of shyness and deep affection. As the delays pile on, spirits start rising and the situation gets more and more tense - especially as the American commanding officer, Captain Jones (Armand Assante), grows wearingly restless. The outcome of the story is for you to relish or despise, but at two and a half hours, you'll have to be patient.

The film's length is, I'm sorry to say, unjustified and the story drags you along in something that resembles agony more than joy. Also, structure and style tend do be more conventional than not. Yet, there are many beautiful moments to be had, many moments which reflect a desperate world, moments with universal validity on both social and personal levels. The characters themselves are quite intriguing at first (as is the whole movie, for around sixty minutes) but they start wearing off towards the end, plagued by what I found to be strange inconsistencies - or plainly a raw denouement to the picture. There is something subtle, something beyond the obvious realm of the film that quietly unfolds, a story of immense sadness, a story that reflects exactly how diseased modern society is, with an emphasis on Romanian problems that have shaped the late 20th century for all the people living there. However, the humanity which lies behind these unobtrusive connections knows no boundaries of land and nationality. The problem I saw myself faced with was that the film did not clearly focus on its direction(s), and despite its unsympathetic running time, it still rushed a half-fabricated end - which I found to be a serious letdown. All in all though, the underlying message is clear and sensible: there will be no Americans (or any "others") to come and save us, we need to find the resources ourselves to deal with life as it as and as we've made it be.

Armand Assante plays it straight all the way, the tough guy trying hard to keep calm in a situation which defies his notions of bureaucracy and efficiency. The lack of response from Romanian authorities was - to my mind - completely unimaginable to a foreign army man, yet the usual resourcefulness of American imagination clears the way for a solution. While I found it disturbing and unsatisfactory, it is for you to judge its validity. Charming as she was (and always is), Maria Dinulescu portrays a character so typical and so unbelievable that it is hard to truly feel for her fate, as ultimately is the problem of almost the whole of Capalnita. Despite the fact that the film very accurately (and often amusingly) portrays the underpinnings of Romanian hospitality, this effect wears off about halfway through the film - as I've already mentioned.

So how valuable a film is "California Dreamin'" and did it deserve a win at the Cannes? Well, it is a film which could have been good - even very good - had Nemescu had time to round it all off, but as such it is more of a long and unsatisfactory ride through the mysterious world of a tiny town at the outskirts of Bucharest. There's a lot of stuff there you can enjoy, a lot of sad truths and a great central character in the person of Doiaru, but the final impression is weak and underplays the film's potential. Yet...we live with what we have.

In artistic terms the movie is great. The story is superb, the acting is excellent too. Nevertheless there is an issue that should be taken into account when a director decides to make a movie with an eastern European setting. Films like the ones directed by Emir Kusturica or Nae Caranfil and now by Nemescu reveal and insist on revealing only one side of the Balkans. This facet is often exaggerated for artistic purposes and while it identifies the Balkans in certain aspects, it can also be very hazardous on the longer term. The Romanian, Serbian or Bulgarian societies are certainly more complex than the instances and the characters depicted in "White cat, black cat", "Philantropica" or "California Dreamin'". This picturesque facet constantly addressed by film makers represents a reality of the region but should not be generalized. This is the hazard of making such movies. Westerners and Americans, not very accustomed to the history and the society of the Eastern Europe might reduce them to this narrow view: gypsies, easy and shallow girls, the general poverty and corruption and a scene populated by low-lifes and scums. Everyone seeing this film should enjoy it for what it is, but should also keep in mind that, although true at a certain level, Romania means more than that.

Cristian Nemescu's Cannes award wining movie, California Dreaming manages to exceptionally underline the issue of globalization, bureaucracy, the international image of the United States and it's actions, opportunism; also some of the bitter realities of Romanian administration, politics, mentality and the servility regarding foreigners that is found in this country way of thinking; everything is spinning around an old local obsession from 1944 when all of Romania was waiting for the US Forces to arrive and liberate it from the occupants; the viewer is surprised several times by different cues(lines) that are more or less subtle and what is impressive is that with only one phrase some of the characters manage to create powerful images and scenes. The arrival of the Americans in the Capalnita Village it is seen by locals as a unique chance to live a better life and in their attempt to distinguish themselves, the villagers become capable to give rise to amazing actions never seen before in the community even though in the end all becomes so very ridiculous and ironically for both of the sides(the US Marines and the Romanians)but for different reasons: the Americans because of their unstoppable urge to leave and being stuck in the middle of nowhere and the villagers for their desire to lure and impress the new arrived guests. Another thing to remind is the brilliant black and white scenes mixed in the movie, which present a story from The Second World War, aspects which are essential for the viewer to understand the mentality of one of the most important character named Doianu, the one who actually starts the main plot. The overall impression is that of a movie with a great script, very well played, fascinating situations, but above all so very exceptional directed.

Can you make a better film by leaving it unfinished? George Lucas, famously, thought he could have done better with 'Star Wars', but the changes he made after 20 years were generally met with derision. In the case of Cristian Nemescu's film 'California Dreamin'', there's a sadder story: the director died in a car crash while the film was in edit. What he left behind was a story (about American soldiers marooned in a Romanian backwater) that is arguably overlong and unfinished (indeed, the film even has a subtitle to this effect), with some unlikely cuts and juxtapositions (that may or may not have been intended). It's certainly likely that, with more time, he'd have cleaned it up, made it a little slicker and to the point. Or maybe not. Because the wonder of this film is its lugubrious charm, the sense you have in watching it that you are every bit as stuck as the Americans. It's a mood piece, and yet also a piece of uncertain mood. As well as the sort of sly comedy that is consistently to the point without ever actually making you laugh: you watch it with a twitch of a smile perpetually on your face, yet it's downbeat style continuously pulls back from being actually funny. Star of the show is Armand Assante as the bamboozled American captain, out of his depth in a peace zone.

This film brought back memories for me, as I visited Romania twice in the early 1990 (although five or more years before this film is set). And I recognise every thing about this world: the bureaucracy, the corruption, the former communist officials still in place, the decrepitude of the public infrastructure, the general sense that no damn thing works; and of course, the pretty girls excited by the faintest hint of outside. When the captain calls it 'paradise' it's unclear if he's lost his marbles; but the film has certainly not lost its own sense of irony. And yet, I did wonder why a Romanian director should have wanted to make a film that shows such a picture of his country. But then I was reminded of another film about a local community (this time in Scotland) visited by an American, Bill Forsyth's 'Local Hero'; and there are aspects of both films that are similar, not least in the ambiguous relationship of the movie to the people it depicts (superficially, in both cases, our initial sympathies are with the outsiders). 'California Dreamin'' is a much darker movie; but for all its oddness, I loved it. And it reminded me of another time in my life surprisingly warmly.

I'll begin with a piece of trivia: it's very funny to see that all among the comments about this movie, the worst are originating from Serbia. Why? Because the subject is approaching in an objective way (not a demonizing one) Romania's cooperation with the N.A.T.O. forces, during the Kosovo crisis at the end of the last century. (Besides this, it's significant to see that Mladen Ilic is inventing faults, in his drive to dis-consider the movie - or, perhaps, the poor man is just a profane spectator who has no grasp of the profession; if this be the case, he is excused).

Another piece of trivia is that, after the press screening of the movie, the writer was almost coming to blows with me, because my public comments during the conference had included a certain criticism. (Fortunately, now we are okay again.) To get to the point, I should say that my official review of the movie is pretty detailed, and any Romanian-reading user can read it on Cinemagia or Liternet (unfortunately, I can't post the links here, since the IMDb rules forbid it; but you know what I'm speaking about). The important thing is that "California Dreamin' (Unfinished)" is indeed one of these golden movies of Romanian's present day's generation. It expresses an unmistakable Romanian note, in style, content and feeling, and also a definitory trait of its sadly departed author, the talented an exceptionally rigorous Cristian Nemescu (here comes the THIRD piece of trivia: we fought like mad on the Cinemagia Forum - but, thank God, we made up one year before his tragic demise).

A very important piece of info: Cristi Nemescu had the habit to shoot much more than it was meant to get into the movie, and then to ruthlessly re-organize and cut short his footage, while editing. It was his own way to reach the maximum level of his expression. Still, because of his death, the producer and crew decided to keep as much as possible of his shot footage - out of respect for his work. This is why the movie remained so long and somewhat dissipated in the last quarter.

The good news is that even those scenes are well done, precise and compelling, so the fault belongs only to the structural principles, not also to the pictures as such. Although loosely articulated, boring it doesn't become, that final section! Putting together all the good and bad points, "California Dreamin' (Unfinished)" remains one of the best Romanian movies of all times - and, more than that: as an East European movie in the widest sense. Highly recommended viewing - if you have an atom of cinematographic taste, you won't regret it one bit!