To vlemma tou Odyssea

Major films and movies that I have seen have been primarily service pictures. I say service pictures because any idea being developed is immediately delivered in a reduced state right into the movie-goer's lap. It's a fast philosophy. This is unlike Ulysses' Gaze. I am still impressed by the movie because of its confidence in the viewer. I have read comments complaining about the film's overly long scenes. The scenes are an interaction between your mind and the screen. An image is produced and the director leaves the image for you to contemplate. Images shouldn't be beamed into minds as 10 second clips like Moulin Rouge. So many people explain to me their love of movies as a form of entertainment and escapism. Movies are an art form but like everything in this post-modern age, they cannot exist without the deep intellectual objective view point dividing the subjective experiences. Ulysses' Gaze does not REQUIRE patience it rewards contemplation and understanding.

Story-wise the plot is just as basic as The Wizard of Oz. An individual must journey to find home and a complete soul. I found it as a superb movie with its various allusions to mythology and actual history.

Theo Angelopoulos can take his place in the line with other great artists, as Bergman, Tarkovskii, etc. The piece is long, but not boring at all, though it's not an easy viewing. Viewer has to posess at least rudimentary knowledge about European, and, in particular, Balkan history. TA transform a personal story into a parable of Odissei's journey, a neverending search for one's soul. The shots are beautiful, even with somehow faded film.

I think this is the good movie and that Angelopoulos was right on target when he showed his disappointment for not winning the Golden Palm during the 1995 Cannes Film Festival.

Not that the "Underground" was a bad movie. But the Gaze is better. The Gaze touches the source of the problem in the Balkan region. Balkans is a very beautiful region with wonderful landscapes and people with long history. There is where the problem is. There is too much history in the Balkans. Too many cultures, too many religions and too many political conflicts. The lost innocence of the Balkans, which the hero, the director "A" is looking for throughout the movie, is offered to the viewer through the movie's wonderful cinematography. There you see the best of Northern Greece, Macedonia, Albania, Serbia, Bulgaria and Romania. Many cities have different names in different languages. Many people fight with each other too. What remains in the end is the bitter-sweat taste of a region where virtue and malice go hand in hand.

One final remark. I agree with many critics who pointed out that the movie has some technical flaws, including its extremely slow pacing. Yes the movie could have been faster a.s.o. But hey, have you ever seen a better "glance" of the lost innocence of the Balkans?

People who have visited or lived in this region can surely appreciate this motion picture even more.

Somebody once said that DW Griffith is to blame for having a wide open horizon, full of possibilities, and settling for melodrama as the blueprint of the movie-going experience.

However, once in a long while, a film comes along that breaks the mold and shows us once again what can be done. Glimpses only, hints at untapped potential. "2001: A Space Odyssey" is one such example. Fellini's "Satyricon" is another. "Solaris" by Tarkovsky. And so is "Ulysses' Gaze". There are more.

I like to be challenged, even as I enjoy some standard Hollywood fare. I like to be shaken up with the promise of a nudge towards enlightenment. I love to feel awakened from my everyday, sleepwalking mode.

Granted, "Ulysses' Gaze" is NOT for everyone. But to dismiss this film as "another one of those art films", to call it bloated, is an exercise in laziness. And to condemn Angelopoulos of arrogance, well, how about considering the terms confidence and conviction instead? I do not pretend to understand "Ulysses' Gaze", the film is so riddled with ambiguities and leaps back and forth into the realm of the subconscious and the surreal. I just allow myself to go with the flow, and regard a world that is so outside of the grid that it is like watching a transmission from another planet, with real people I identify, sharing genuine affection in small gestures. And even though the English dialogue is lacking at times, there is not a single one of those "Hallmark moments" that seems to pervade in contemporary Hollywood fare.

As for the prolonged landscape scenes, they show parts of the world (Albania, Bulgaria) that are as unknown to me as the bottom of the ocean. If just for this alone, I am hypnotized.

To make the effort, to absorb "Ulysses' Gaze", is a small step towards understanding the ruthless, constant plight of the people of that small corner of the world that is the Balkans. Just one small corner. Imagine.

I have to say that "Ulysses' Gaze" is an incredible film, one of a few by which XX century's great cinema should (and will) eventually be regarded.

One of the most beautiful, poetic films ever made. The opening scenes are pure, unbeatable art. Rather than the unwinding of the complex narrative itself, it is the visual power of the images that Angelopoulos offers us that make this work so disturbing and beautiful. You have to watch the film as a series of paintings, poems, installations and performances rather than a conventional movie. The acting is superb, especially Harvey Keitel's performance, one of the best that this great actor has ever delivered. Especially memorable is the scene in which an old woman is taken for a ride to her hometown in Macedonia by Keitel. The woman left Macedonia before the advent of Communism and is now returning to her country for the first time in decades. Since her absence, her place has been transformed in a nightmarish communist city, filled with gray, impersonal, concrete buildings. We see the woman helpless and bewildered in an environment that she no longer recognizes, while Keitel goes away. A powerful metaphor of the fast and tremendous transformations suffered by the Balkans during the 20th century.

This is above all a lesson in history. A poignant monument to the memory and fate of Europe.