Um Olhar a Cada Dia

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 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!

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.

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.

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.