O melissokomos

A middle aged teacher retires from his career, dedicates himself to his hobby, and embarks on a journey through Greece with his colony of bees in his lorry. Along the way he picks up a young woman hitch hiker, and a relationship develops between them that explores the depths of personal loneliness and and alienation.

Both Spiros and his young passenger have lost their perspective of the future - he is living in nostalgic reminiscence of the past, while the young girl's life is one of instant gratification, she seems to be aware of neither past nor future. Their inherent inner isolation expresses itself in a series of futile, almost savagely physical attempts at forming real contact with each other, that leaves the viewer with a harrowing picture of disturbed, painful existence.

This is a slow, carefully composed film, a sequence of memorable images, some visually beautiful, others showing the gritty harshness of life. There is a constant shifting between dreams and realities that leaves what actually happens shrouded in doubt, and a moody atmosphere of nostalgia that pervades the whole film.

An exceptional film that should not be missed by patient and observant people interested in the exploration of human feelings.

A beekeeper, Spyros, having just married off his daughter, who seems to be the only person he has any humanly connection with, embarks on a journey with his bees across the country as part of his profession. A journey during which he encounters a free spirited young girl who hitches a ride on his truck.

This movie quite brilliantly explores loneliness from two levels. One, from the aging beekeeper, who with the marriage of his daughter and the separation with his wife, has nothing for himself and seeks to fill this void through revisiting aspects from his past. The second, is from the young girl, whose loneliness is manifested through a destructive and meaningless attachment to whatever brings her instant gratification with no regard for consequences in the future. And the movie explores how the pairing of the two can lead to nothing but despair.

Theodoros Angelopoulos is a filmmaker who speaks through silence, where the unspoken is always the most expressive. And fittingly, the Beekeeper is a movie engrossed in a sense of yearning; either towards something you once had, or for things you think you should have. The tragedy of one's hopelessness in the world of Angelopoulos, lies not in one's choices, but in their unchangeable state of loneliness they so desperately try to escape.

What's not to love here?

It is amazing that it is only on two occasions that the great Greek director Theo Angelopoulos [1935-2012] chose to cast major film stars of international reputation in his films. In 1995, he directed "Ulysses' Gaze" with one of American cinema's greatest actors Harvey Keitel. The Beekeeper/O Melissokomos was his first film with a major star,Italian actor Marcello Mastroianni who is known to all those who appreciate great cinema. It is interesting to note that in both these films, Theo Angelopoulos has extracted unglamorous performances from these two actors who are known to ordinary cinema audiences as mere 'film stars'. The decision to cast Marcello Mastroianni must be viewed as an artistic challenge for Angelopoulos as he was already a middle aged man when he was paired against a young girl in a film about hopelessness, uselessness wherein one comes to realize the futility of one's drab existence. Through his film about a man and his passion for bees, Theo Angelopoulos teaches us that happiness is fleeting. One learns the most crucial lesson in life that even though bees are sweet for honey their bite is extremely dangerous. This is precisely the lesson which the film's protagonist experiences after a series of minor incidents which happen in his life when he travels across Greece in the company of a young girl. The notion of "So near yet so far" appears to be this film's leitmotif as even though the protagonist stands near his wife for a photo shoot, discontent is always visible on their faces. This notion makes its second appearance when the protagonist meets a young girl who is hitch hiking across Greece. Lastly, no film director has attempted to show the love felt by a young girl for an old man in an extremely personal manner as depicted by Angelopoulos in "The Beekeeper" as mutual respect is the key element in this film.One could also state that the young girl allowed herself to be treated well by the old man. This is the reason why the young girl feels that the old man is the only person who has treated her well.

A sad and extremely poignant movie from the unique, and sadly late, director Theodoros Angelopoulos. Is there such thing as the male menopause? Yes, there is, and Angelopoulos in this movie, portrays the subject through his main character with unique emphasis on the basics of human emotions of infinite sadness, loneliness, futile aspirations, rejection, desperation, ....

This film didn't really work for me. After reading the, mostly, wonderful accolades above I was expecting better things from this movie but finished up being disappointed. It wasn't the inactivity either. I like Bella Tarr films so I am used to long takes with not very much happening. Another reviewer of a Tarr film recently noted that you could write a masters thesis on what is not going on, in between the bits of dialog. Okay, this is kind of cutesy but I know what he meant. There is a tension or at least a relationship between the characters and sometimes a "drama of the moment" in the "what will happen next", sense. With the Spyros character there was the feeling that during his moments of stoic inactivity (of which there was a lot), there was nothing going on inside. It was just a complete blank-out, no drama; no tension from silent inner feelings directed towards another, just nothing. The same scene could have been shot to equal effect without him being there. I was waiting for someone to come up to him and shout "Hello in there", in Greek of course or to give him a much needed kick in the seat of his pants. Whilst I am on the subject of pants, I would have reckoned that someone with a grown up son and two grown up daughters would have at least known that you have to open them in order to have sex. Any spotty teenager on his maiden voyage would not have acted in such an inept way. All the incidents except one in this film happened to Spyro not because of him. That one was when he drove his wagon through the front of a restaurant in order to get the girl and that came over as more of a student prank than an act of desperation.

But, hey, I hear you say, this is a film that deals with the problems of loneliness and isolation and I should be more sympathetic to his situation. I understand this point of view however it is difficult to empathize with someone who has turned his back on a wife that obviously still had feelings for him; a family he could draw round him but who are now indifferent to him and friends throughout the country who he leaves at the first opportunity. Even the girl, who was selfish, never really did anything bad towards him. Spyro had no warmth within him and never did anything to gain respect. In the end even his beloved bees turned against him.

In my opinion the high ranking Artificial Eye distributor has scored an own goal with this one but the enthusiasm of others will probably vindicate them.