La mort de Dante Lazarescu

Mr. Lazarescu: nearing 63, lives alone with his three cats, underwent surgery due to ulcer, has a sister still living in Romania and a daughter who left (it seems) unannounced and moved to Canada. This is the man: old, alone and ill. A terrible fate.

Puiu's movie, inspired from true events (some years ago, a man was transported from one hospital to the other with a most tragic consequence) follows its protagonist through the final stages of his life: feeling ill, Lazarescu calls for an ambulance and awaits its (delayed) arrival drinking and making telephone calls. As the hands of the clock turn and the ambulance is nowhere to be heard or seen, the old man goes next door, trying to get some help from the neighbors: a stereotype of their kind. Once the ambulance finally arrives, Lazarescu embarks on a most dreadful road trip, from hospital to hospital, in an elaborate attempt to diagnose and operate him. The story begins.

It would be unfair not to acknowledge the film's authenticity from the outset. Truly segmented - as the director himself affirmed, regarding "Lazarescu" as the first in six stories about the Romanian capital - in several (short) "stories of Bucharest", we meet most intriguing characters and situations, each of them highly rewarding on different levels. Good doctors, bad doctors, grumpy doctors, snobbish doctors, pitiful doctors - all the guys and girls our great medical system can offer. Still, some continue to resemble human beings, which - to a certain degree - is quite an achievement.

The bad light Puiu sheds on them may be diminished by the fact that the night Lazarescu chose to fall ill was most unfortunate: a terrible car accident filled most of the hospitals so that it was extremely difficult to find a place for an old, drunk man who was automatically labeled as a drinker and treated as such. Few characters in the film show authentic sympathy for Lazarescu, as most of them just want to get on with the job and do themselves a greater good. There is no such concept of readiness to help a fellow man struggling between life and death: commodity reigns. Unlike Lazarus, our main character will most probably not rise from the dead. And the people who still stand and didn't give their everything are up to their throats in guilt.

But this is the terrible, depressing half of the story. A most regretful reality. Cristi Puiu's and Razvan Radulescu's (a bit overlong) script is at times filled with moments of sheer irony, sarcasm and cynicism, all worth their laughs. Some of these moments are brilliant. Lazarescu is witty and gutsy, as long as he can talk. He is a man who - despite what others think - wants to stand up for himself and would rather not let anyone treat him like scum. Sadly, though, all is part of a gigantic vicious circle: doctors remain people and patients are not at all different. Flawed. Yet, there is a question of humanity and dignity involved. A choice between what is right and what is easy, as the saying goes.

Winner of the Un Certain Regard in Cannes, is like a version of "E.R" truly realistic, with the good, bad, indifferent, attentive, humble, arrogant, and, above all, human doctors. The title-character is far from being a hero, but that makes it easier to sympathize with him, which is essential here: we really feel like we were Lazarescus, going from hospital to hospital waiting for the help, never being treated properly, and the situation getting worse and worse as times goes by. Puiu's creates a documentary-like atmosphere to an almost Kafka-like situation, and fills the movie with dark humor and moments which can be shocking, but are never there just for that purpose. The entire cast delivers solid performances, specially Fiscuteanu as the remarkable Lazarescu Dante Remus and Luminita Gheorghiu as the paramedic. Reminded me of Hitchcock's "The Wrong Man" (one of his best and certainly the most overlooked), another documentary-like film about a man in a absurd, but also realistic, situation in a system that doesn't care about him. One of the best pictures of 2005.

I found this title on a list of outstanding foreign films. It tells the story of a man who has been forgotten, who would like to live, but who is seen as a burden to all those who he encounters. He has had ulcer surgery and apparently other serious, probably fatal ailments. He makes calls to his "loved ones." He tries to navigate his apartment, but is overwhelmed because of pain and weakness. A neighbor grudgingly tries to help him but feels the need to lecture him. It is apparent that he has had issues with alcohol in the past and is quite acerbic. Eventually, he put in an ambulance and a journey from hospital to hospital begins. At no point do the care givers treat him with simple humanity. The paramedic, a tired woman, tries to see to hits needs and get him care, but she is often rebuffed by doctors and hospital personnel. This is gut wrenching and we feel the vicarious pain. He has ceased to be of value in this society. The closing scene is very hard to watch.

It's amazing to see this movie rated as comedy, and reading other people's comments I see the reasons it's so well rated differently. This movie it's a hard to swallow. Not comedy, maybe drama, supra-realistic. It's incredible for most of the people in most civilized countries that what you see there is what happens as a routine in Romania. No wonder Romania's minister of health didn't want to be present at the premiere in Bucharest. This movie is a very realistic reflection of what old or seek people get in Bucharest after paying their medical assurances for a lifetime. Of course it's a movie and there are also side aspects; but seeing the action.. it was nothing new for me. I've been through it with someone very dear to me, and i know what's happening in those hospitals.

Forty years after the last big prize received by Liviu Ciulei, director Cristi Puiu is back in the Cannes festival list of prizes with this strong but sensible creation. A new generation of Romanian cinema makers is born, and it not only succeeds in making a strong statement about the situation in today's Romania, but does it in a way that makes sense for international audiences.

There are three levels one can see Puiu's film. The first is the relation between the single human and the medical system. 'Moartea domnului Lazarescu' is the anti-'ER' with the universal character of the paternal doctor, playing God just to hide his own lack of competence and his indifference is kind of universal.

Then we have the story of Dante (yes!) Lazarescu descending in five hours the spiral stairs between being a pauper drunken in today's Bucharest towards almost certain physical death. An yet, despite the gradual physical degradation admirably acted by Ion Fiscuteanu, Mr. Lazarescu keeps intact his moral and human dignity, even as he slowly slides into a comma.

I am not sure whether folks who did not live in Romania or other former communist countries will catch easily the third layer. Lazarescu lives in a world in decomposition. Dictature is gone, but no social help system replaced it, his family is far away, his neighbors are simple people, indifferent and hardly coping with their own problem. Yet, in this decrepit medium he will find in the assistant Mioara a caring person, who will not only try to save him, but will ease his last hours with the feeling that yet there is somebody who cared for him. It's not quality of life, it's more - quality of humanity.