De ce tac clopotele, Dilemo?

Stau si frunzaresc penultimul numar din Dilema, cel dedicat cinematografului romanesc dinainte de 1989. Bun, sunt de acord: Morometii este, probabil, cel mai bun film romanesc. Si alte titluri vehiculate si prea-vehiculate pe-acolo pot sa faca fata cantarului artistic, trecerii timpului, privirii necrutatoare a criticilor.

Dar totusi. In toate paginile despre subiect, semnate de varii elitisti cinefilo-critico-damboviteni, sa nu se rosteasca nici macar o data titlul De ce trag clopotele, Mitica? ?

Nasol, mon cher. Suntetzi prea artishti pentru mine. Artsy fartsy people.

Pentru echilibru, scot de la naftalina cronica de film pe care unu', Turambar a' lu' Chiriac, ala din capul satului, cum intri in Telega pe dreapta, il scria, cu inima si cu daruire, pentru Imdb acum vreo 7 ani. Pentru ca este unul din filmele romanesti definitorii pentru mine, alaturi de Morometii si de Atunci i-am condamnat pe toti la moarte.

Cititi. Vedeti filmul. Intristati-va si cu mare bucurie betzi un spritz cald de vara, intru cinstea si memoria lui Caragiale, lui Pintilie si a nemuritorului erou roman care da mustele afara din Cismigiu. Si pe urma moare.

Asa... Inchide ochii, Puffy. Acum deschide-i. Uita-te in zare, Puffy... Lasa-i sa moara prosti.

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Although not so well-known as others East European cinemas (Polish or Czech, for instance), the Romanian school managed to produce several high-quality movies. One of them -- some would say the best -- is "Why do they ring the bells, Mitica?".

Inspired by the work of the Romanian play-writer I.L. Caragiale, a bitter-funny witness of the 20th turn-of-the-century Romanian burgeois mores, the movie manages to grasp the cheap, frantic, colourful and slightly hysteric atmosphere of Caragiale's plays.

The movie's director, Lucian Pintilie, is one of the few success stories of the Romanian cinema. He turns the classical, linear plot of the play into a zigzagged scenario, combining it with several other Caragiale's short-stories. The result is a weird combination of crazy carnival scenes and short, alienated insertions reminding of Antognioni's "Red Dessert". A burlesque, fast-paced, snowball-like comedy (because, after all, *it remains* a comedy) with plenty of post-modernist auto-reflexivity and deep meditative undertones.

In fact, these undertones made the Communist regime to ban the movie during the '80s, considering it as having a strong subversive potential. (This was not the first Pintilie's banned movie in Romania: during the '70s, another one, "Reconstituirea", a satyric critique of the totalitarian Communist regime, was added on the black list of forbidden movies).

But, IMHO, the strongest part of this movie is not the director or the fact that it spoke up against a totalitarian regime. Its best moments reside in the tremendous performances of the actors. Rebengiuc, Dinica, Mihut, Diaconu, Vasilescu -- to name just a few -- give their best acting experience in this movie. It is a pity that they are not so well-known outside the Romanian cultural sphere...

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Think of this movie as a Romanian "Firemen's Ball" or a Balkanic "Il Vitelloni", but with a finger stuck on the fast-forward button, and you'll have a good approximation of it. :o)