An exiled Communist returns to his Greek homeland after thirty years and, in his older age, finds adjustment to his forgotten family and the new ways of life quite difficult. –Inbaseline
Theo Angelopoulos began to study law in Athens but broke up his studies to go to the Sorbonne in Paris in order to study literature. When he had finished his studies, he wanted to attend the School of Cinema at Paris but decided instead to go back to Greece. There he worked as a journalist and critic for the newspaper “Demokratiki Allaghi” until it was banned by the military after a coup d’état. Now unemployed, he decided to make his first movie, Anaparastasi (1970). Internationally successful was his trilogy about the history of Greece from 1930 to 1970 consisting of Meres tou ’36 (1972), O thiasos (1975), and Oi kynigoi (1977). After the end of the dictatorship in Greece, Angelopoulos went to Italy, where he worked with RAI (and more money). His movies then became less political. —IMDb
Compared to his next film 'O Melissokomos' this is actually a fairly ordinary film from one of the best directors in the history of cinema. It is beautiful but I just feel he did so much better in his previous films and some of his later work. Still worth a view, but not one to judge Angelopoulos by
I told you about that book I read about Angelopoulos, I recently read the section on this film and now I am inclined to watch it again now that I understand more what it was really saying. Yeah, it is certainly a very very different style from his five previous works, and its a style I prefer (I think this is the beginning of mid- Angelopoulos, this stage ends at Ulysses' Gaze and then his last three films are late-Angelopoulos).I will definitely give it a rewatch. The last shot of the film I vaguely remember, and I remember it being quite moving indeed.
I liked the little connections within the trilogy. The names: Alexander and Voula, fatherless. Spyros, old and lost. Both Spyroses have their strange ways of communicating with their old friends. Liked the film-within-a-film layer, Alexander dubbed by Angelopoulos with posters of his films in his office, and inventing and controlling the film ('turning on' the soundtrack and lights). Subject matter ain't my thing maybe but I liked how it was done. The structure is my thing. A nicely built machine.
a true masterpiece. each frame with this director is a work of art, like a painting. the composition, blocking and light in his ouevre are always inch perfect and this film is a perfect example. he is clearly the contemporary of antonioni with the manner in which he shows the alienation of people from each other, and how difficult communication has become.