La sorgente del fiume

I think anyone familiar with Angelopoulos knows what to expect with his films: long, drawn out, meticulously planned shots that slowly scan environments, with the image composed of not only the foreground but hundreds of yards into the background. I guess some are not impressed with the director's style, but that really astounds me. I definitely see the man as a master of his medium, and The Weeping Meadow is as good as any of his other films – every one I've seen so far is a masterpiece or close to it. This film has a lot in common with the director's first big success, The Traveling Players. It follows a little girl, Eleni, from 1919 to the time of the Greek Civil War, at the end of WWII. And, as the title implies, it's a great tragedy. There is a lot of weeping. It may be long and slow, but it's always gripping. Angelopoulos' imagery is second to none in modern cinema. There are just so many jaw-dropping sequences. My favorite was the one where the camera explored its way through a maze of bed sheets drying on clotheslines, discovering various musicians hidden within. It's not a complaint, per se, but if you're going to watch the film beware of its chronological ellipses. The film can skip ahead years in just a second, when the pace usually makes each second feel like years (in a good way!). I hope New Yorker video, or some other company, digs up the Angelopoulos films that have been unavailable so far, and puts The Traveling Players on DVD, as well.

Anytime you sit down to a historical piece, especially a part of a trilogy, you must be prepared for an investment of time. In this case, it is 3 hours more or less, depending on the version.

The period that the first part of the Trilogy covers is 1919 -1949. Theodoros Angelopoulos presents 30 years of Greek history beginning with the return of the exiles from Odessa after WWI to the rise of the Colonels.

Eleni, who witnesses the history, is played by an unknown, Alexandra Aidini. He does not use her in the second film.

She is to marry Spyros (Vassilis Kolovos), but loves his son Alexis (Nikos Poursadinis), She runs off with him. They had two children that were taken and given to a rich woman. They managed to get them back after the village flooded. Alexis heads to America, while Eleni loses the children again after she is imprisoned. The war takes a toll on the family. There is much weeping among the women and those who didn't wear black, did so now.

But, the film is really not about the characters. It is about Greece, and the pain she has endured in this century.

It is a dark and dreary film with plenty of rain and cloudy skies. It is not meant to be joyful as the period is not joyful, as we watch dreams shattered, and people surviving, but just barely.

With music by Eleni Karaindrou and cinematography by Andreas Sinanos, you are not bored by the lack of dialog. In fact, you are left to enjoy and experience the time and the film.

Those who enjoy Bergman, Fellini, Kurosawa, and other great masters, will certainly enjoy Theodoros Angelopoulos. I hope he finished this trilogy, as he will be almost 80 when he does.

Theo Angelopoulos is one of the greatest directors working in films today. His last film, Eternity and a day proved that. This film is,likewise, a masterpiece. It begins in 1919 as a band of refugees returns to Greece from exile in Odessa. There are sepia colored photographs , and in this section of the film, the interiors are also sepia colored. The film then proceeds very elegantly for about the first third of its running time. He uses mostly long pans and tracking shots, and then may stop to focus on a scene as he gradually pulls the camera in closer, but almost never to a close up. His sense of mise en scene is superb, but even more he evokes a very specific time and place. His cinematography is superb, and often highly gorgeous. There is a superb scene at jusr about the end of the first third, where Eleni,the film's principal character, wants to leave and walks down to the water. She is suddenly surrounded by a group of men who begin to dance with her. That scene and the music in it are quite intoxicating. it reminds me a little of Fellini. The film then darkens drastically, becomes more political, and also somewhat fantastical, non linear, and rather mythic in tone. There are some beautiful, truly remarkable images here--the streets, the slaughtered sheep hanging from the trees, and a funeral procession in the water with the funeral party on a raft, surrounded by fishing boats all lite by lanterns. Then there is the final third of the film which takes us to WW2, but the style is quite abstract and elliptical, and where it is very difficult to pinpoint time. By the end her family is destroyed, and she becomes a figure of true Euripidean tragedy. It's devastating, and suddenly not only mythic but timeless.

Angelopoulos again makes the most of an intellectual way of cinema, which is though full of poetry and with the stain of compassion. History and human relationships are emphasized through the symbolic order of ancient Greek tragedy and that is what makes the film have a more "heavy" character, which makes it a little harder to follow than a usual Hollywood production- do not misjudge me, I love it too. As long as it concerns the scenario the modern history of Greece becomes only the environment in which the man wrecks along with his fate. Angelopoulos recons the mechanizations of History upon man and tries to make a clear statement upon it. The film itself is the most mature of the Greek director and has all his personal characteristics bound together in an excellent work!

I had watched years ago some older films of Aggelopoulos and i was expecting a slow movie, with minimal dialogues, many symbolisms, weak plot and superb photography. I got exactly what i expected and something more: i left the theatre with an extreme satisfaction.

The film: Greece roughly between 1920 and 1950 (but it is so current and contemporary because it deals with global, recurring themes). The life of the nation through events: national catastrophes, refugees, social and political unrest, world and civil wars. The life of the person through emotions: love, lust, pride, hope, love, desperation, ambition, love, death. And many symbolisms and extremely powerful and beautiful scenes with references from ancient myths to current international affairs. And rain, lots of rain :-) The plot and the development of the characters may appear weak. We are used to ready meals from the business of cinema, which overwhelm us with fast dialogues, "strong" performances and "exciting" situations. And that's fine. But cinema and people need also the approach of Aggelopoulos, we need some space and time, to reflect and realise our existence. "To Livadi pou dakryzei" gives more freedom and time to the viewer to participate with his feelings and memories and thoughts. That's exactly interactive art.

These are some of my interpretations of some scenes: village flooding (Climate Change and the forces of Nature), immigration/separation (departure of my girlfriend), mother crying over her soldier sons dead bodies (this is a real war scene, not the computer games style). You will identify with other scenes (everyone has an opinion, right ?) and you will feel alive.

I am grateful to Aggelopoulos for giving me the chance to look inside myself, remember, sigh, think.