Ulysses' Gaze (1995)

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.

Fmovies: Before seeing this film for the first time, I was already familiar with the brilliant CD of the music. I had some idea through the music of what the film portrayed, but was somewhat put off by the three hours devoted to a movie about the Balkans. I just wasn't ready for a drama about this violent and troubling history although I had adored the wonderful film "Before the Rain." Now after viewing the compelling and stunning "Ulysses' Gaze" I can highly recommend both the music and the film. The music and the movie are exquisite partners. The cinematography is truly breathtaking. I was taken with the intense yearning and empathy of Harvey Keitel as the Ulysses of the quest, but especially struck by Maia Morgenstern as the female focus of the film. She is brilliant. And the great Erland Josephson is wonderful to watch. Although the movie is quite long, its richness and unusual perspectives are impressive, thought-provoking, and profound. I think that by the end, as is the main character, the viewer can be wholly changed by this experience.

I have never seen a film which promised so much. I can imagine that ten viewings from now, I will have only begun to understand all that is buried in this dense, complex, contemplative masterpiece.

This isn't a quick-thrill film, but the rewards it offers to its viewers are immense. If nothing else, it demonstrates what a true master of cinema can produce. Few directors have reached this height, perhaps Dryer, Welles, and Kirasawa. If you love the art of cinema, with all of the complexities its varied language can offer, see this film.

Ulysses' Gaze fmovies. Justly famous for being one of the last remaining directors still doing extraordinary cinema, in this film Angelopoulos celebrates the end of Communism in Eastern Europe, while, at the same time, looking with touching sensitivity into the lives of people molded by recent (and less recent) History. Some of the scenes related to History have already become classic, but, personally, I was more impressed by the description of the way this History affected individuals and families. Although the media has covered so amply the tragic events in the Balkans and (to a lesser extent) the external aspects of people's life, very little has been said about more human aspects which, after all, will keep affecting them for many, many years to come. In my opinion, this film offers the most complete, convincing and respectful take on the affected people's emotions, memories and relations among the (few) films, documentaries and books touching on the theme.

The scale is epic both geographically and chronologically and since Angelopoulos manages to move easily between dream and reality (one of the biggest problems facing cinema directors), the personal stories are nicely interwoven with History. Angelopoulos' characteristic long takes, in this instance serve more than giving the film a poetic atmosphere. It is necessary for his goal of looking carefully on individuals' lives and describe their joys and sorrows.

In terms of execution, there were some flaws (especially in technicalities of directing of actors) but, frankly, I don't mind that, if the alternative is perfectly executed films but lacking interesting ideas.

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.