Lo sguardo di Ulisse

Greek filmmaker A travels back to his native country to show his most recent film after 35 years in America. However the religious groups protest and he is forced to abandon his plans. However he then decides to begin a search for the first pieces of film ever shot in Greece that remain unprocessed. His quest takes him across changing countries, bounders and war torn cities.

Personal films always run the risk of being too personal and losing the audience. Ulysses' Gaze runs that line very close and crosses it at times. The basic plot sees A travel across many borders and meeting many people. However the meaning of the film seems to be more about one man's obsession damaging the rest of his life and film as a means of recording history. This makes it a bit more difficult but the theme of obsession is well shown and it's A's quest that gripped me for the most part.

The direction is great – beautiful scenery, wonderful mesmeric tracking shots and long takes make for a great visual experience. However working in several languages takes it's toll and much of the english narration is weak and clumsy. That said he still paints some great pictures and the themes are mostly well developed. The scene where dialogue is played out in a misty screen for 4 minutes is great – while the huge Lenin statue is mesmerising.

However the english is weak and other flaws creep in. The use of the same woman to play several characters is an art movie cliché and just annoyed me as it seemed to serve no purpose. Keitel is not very good. He looks distracted at times – like the fact that he doesn't understand the language affected his ability to relate to those speaking it. His english dialogue is clumsily written but he does well for many key scenes.

Overall this didn't deserve to beat Underground as it is too long, has scenes that don't work and dialogue that is clumsy rather than poetic. However it still has masterful themes and visuals that make it worth watching despite the running time.

Keitel turns in a wonderful performance in this overlong film about a man's search for missing film reels. He plays A, a man who encounters different people on his quest for the reels. There is a lot of symbolism, and the film is very depressing. However it is masterfully constructed, and well acted by most of the cast. It is very hard to find, however.

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.

I have remarked that most American film critics are voting a lot of European films too low. I think the reason why is that they have difficulties to understand them because they know too little of the European history. I think that this film is an example of it. You have to have a very deep insight in the history of Greece and the Balkan to understand this film. Beside the beautiful cinematography, there is more to look for an understanding. It's a pity that a lot of Americans are knowing so little of history, because so there critics are missing a lot!

With "Ulysses' Gaze", Theo Angelopoulos proves that he is one of the most influential figures in contemporary cinema. This film explores the idea of how people must go through their personal Odyssey to reach their destination with an unbelievable poetic quality. By exploring the idea of this journey, Angelopoulos shows how much he is influenced by the poems of Nobel prize-winning Greek poet George Seferis. The atmosphere of the film is admittedly extraordinary, aided by the terrific cinematography of Giorgos Arvanitis, Angelopoulos' collaborator since "Reconstruction" (1972).

But the incredibly dense philosophical context of the film does not stop there, as Angelopoulos depicts the tumultuous history of twentieth-century Balkans with extreme precision and artistry.

Harvey Keitel gave the best performance of his career, even managing to speak a few sentences in Greek without sounding too awkward. Maia Morgenstern (as symbols for Penelope, Nausikaa, Circe and Calypso in her multiple roles) and Erland Josephson are also quite good, while Thanassis Vengos gives a tragi-comic note to the film, with his performance as the taxi driver.

The fact that I am Greek (and therefore I am familiar with the political situation and able to identify with events better) admittedly played a major part in my interpretation of "Ulysses' Gaze" and non-Balkan viewers may find it difficult to identify with the film. However, the idea of the journey is universal and it is a pity that Angelopoulos is often dismissed by most Greeks as being too "difficult".