In the foyer of the cinema we were waiting for "Justice," the Moromete newspaper, the beautiful scent of fresh ink, and everything seemed perfect.
The black and white image makes a good first impression, really great, yes, it could not be a color film whose action takes place at one of the most tragic moments in Romania's history. And the picture was not betrayed throughout the film. Perhaps with perfection. It's too perfect for a cinematic … document. But it is too early to talk about it.
First of all, I am unhappy with the fact that we are still waiting for the dive in key moments, the crucial issues, the spasms of the characters we have been waiting for. The action takes place in a process of collectivization of agriculture in post-war Romania, within the limits of democracy, a process that led to the elimination (or, more gently, of the irreparable alienation) of a whole social class: the Romanian peasant. The only significant social class ever since. Well, the drama of spatial collectivization is hardly supposed. Conflicts, including family, are superficial, the film has no depth, no endoscopy, the characters are overwhelmed out, distant, as careless. The deepest disappointment was that Master Mallaele had a role far below his potential. Then, the fate of Niculae is at least confused and the evolution of the Roman character remains in half.
The only momentary moment is the discussion that Ilee Morley and his son Niculae have about the book of Lenin, which the latter reads in the light of the oil lamp. This scene is played with excellent artistic sensitivity and a perfectly shaped eye to record psychological depths.
The lights are perfect, the image of the vision, Moromet comes from the back, from darkness to the light of the light, sits, crosses his palm above his head and speaks to a natural coexistence of rural simplicity and gravity wisdom permanently shapes the profile of the character. You can not wait any longer.
It is the moment when horatiu Mălăele's performing art enters the most sensitive internal strings and Iosif Paştina (Niculae) perfectly supports the score. But it is the only time of this kind. if you see from Morome 2, you've seen the entire movie, you do not need more. It is the moment of maximum concentration of the message, of the moment of grace, intensity, simulation of the character and becomes perfect.
In comparison, the portraits of Communist activists, Communist disorder are incomplete, I would say with a kind of "political correctness", without courage, with a kind of fear. If the film had been made during Ceausescu's time, it would have been understandable and the concepts would have been enough, but that was no longer the case. It would be time to finally tell the historical truth, to remain a document. And if I came to this word that I was first bypassed and returned to the perfect crystalline image of the film, I would add that if a documentary film was desired, perhaps an artificial aging of the "film" the descent to sepia would give an extra tone of authenticity . It's the only thing I'd blame for the picture, that's too … perfect. Do it a little, like Nichita's cube, or is it too poetic?
The games of lights, shadows and shadow at Moromete's home are the ones that personalize the strokes, the coarse and quenched voice, the wrinkled faces and the half-spoken words describe tensions that can hardly be repeated. When the camera touches the faces it does it seriously, and sometimes with a hurry just coming from Marin Preda. The events follow quickly and overlap, sometimes confusing, because the very heart of the people is confused at the crossroads. So, the movie has its own advantages, which make you stand, do not train, drag, do not have ballast. The broad frames, the highest ones, come at the right time, release tensions, lay allegorically designed to provide space for meditation, but there is nothing to deepen and deepen, as the general impression remains the superficially unclear impasse. Neutral eye, God viewer fell silently, instantly lost.
Moments with real artistic and seemingly neglected potential seemed to me to be with Ilie Moromete in the notary and that of the division of pogons among the children. This farmer, for whom the land was everything, separates his fortune, breaks out of his body, the point of being a farmer is dissolved, and almost nothing happens in the film … The roommate fades, the activist is transparent, the a Communist is a good boy, and so, but I was preparing for something else.
As for the other characters, almost without exception they conquer, they have individuality and specific prints. Razvan Vasilescu, Gheorghe Visu, Marian Ralea, Toma Cuzin, Anca Androne (an island of tranquility among all the more frivolous characters) are more than convincing. Dana Dogaru plays Catrina, Moromete's wife, offended, angry, intimidating, and her frustrations and frustrations are easy to grasp, but you feel like he does it for free, you do not understand why he ages and forbids Moromete, that if he does not you read the novel, you do not know what its relationship with Fica (a performer of Oana Pellea, and if you are not going out of the movie, you will not miss anything).
The general note is good film, but not remarkable, flawless performance, but shy, long thought, but inadequately deep. Morometes and Marin Preda are foundations in Romanian culture, you can not reach them anyway.
But I am convinced that it was just a start, a first-hand contact with an unknown and a second, good-bye, I will overcome my own prejudices and discover the really valuable elements of a more demanding film than imagined the expectations an amateur film.