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!
52 Reviews
pictures that fascinates
beautiful_loser9 February 2001
There is something in the pictures of this film that is indescribable. The camera is always lost in a deep fog , Keitel performance raptures the viewer and captivates by the poetic power of the pictures and dialogues. The movement of the camera subjugates, always moving , very slowly , it literally seems to float in the air , in the fog , around the actors . This slow , quiet presence of the camera delivers a lyrical feeling of peace and calm , even during the war .
A unique experience in cinema . 9/10
A unique experience in cinema . 9/10
A film a little too long but still a masterpiece
beautiful_loser28 February 2001
This beautiful film is a picturesque adventure of a man , Keitel , always serene , in quest for a lost film, his life has not any sense but to find this film . The film is about the peace of mind expressed by the greatness. With superb violin music , pictures that fascinates , an odyssey of beauty through Europe . The film becomes a epic and is stamped with a sentiment of mystery , of past , memories , some scenes remind a sort of religious strangeness .
Another approach to the language of cinema.
niktemadur7 June 2004
Somebody once said that DW Griffith is to blame for having a wide open horizon, full of possibilities, and settling for melodrama as the blueprint of the movie-going experience.
However, once in a long while, a film comes along that breaks the mold and shows us once again what can be done. Glimpses only, hints at untapped potential. "2001: A Space Odyssey" is one such example. Fellini's "Satyricon" is another. "Solaris" by Tarkovsky. And so is "Ulysses' Gaze". There are more.
I like to be challenged, even as I enjoy some standard Hollywood fare. I like to be shaken up with the promise of a nudge towards enlightenment. I love to feel awakened from my everyday, sleepwalking mode.
Granted, "Ulysses' Gaze" is NOT for everyone. But to dismiss this film as "another one of those art films", to call it bloated, is an exercise in laziness. And to condemn Angelopoulos of arrogance, well, how about considering the terms confidence and conviction instead? I do not pretend to understand "Ulysses' Gaze", the film is so riddled with ambiguities and leaps back and forth into the realm of the subconscious and the surreal. I just allow myself to go with the flow, and regard a world that is so outside of the grid that it is like watching a transmission from another planet, with real people I identify, sharing genuine affection in small gestures. And even though the English dialogue is lacking at times, there is not a single one of those "Hallmark moments" that seems to pervade in contemporary Hollywood fare.
As for the prolonged landscape scenes, they show parts of the world (Albania, Bulgaria) that are as unknown to me as the bottom of the ocean. If just for this alone, I am hypnotized.
To make the effort, to absorb "Ulysses' Gaze", is a small step towards understanding the ruthless, constant plight of the people of that small corner of the world that is the Balkans. Just one small corner. Imagine.
I have to say that "Ulysses' Gaze" is an incredible film, one of a few by which XX century's great cinema should (and will) eventually be regarded.
However, once in a long while, a film comes along that breaks the mold and shows us once again what can be done. Glimpses only, hints at untapped potential. "2001: A Space Odyssey" is one such example. Fellini's "Satyricon" is another. "Solaris" by Tarkovsky. And so is "Ulysses' Gaze". There are more.
I like to be challenged, even as I enjoy some standard Hollywood fare. I like to be shaken up with the promise of a nudge towards enlightenment. I love to feel awakened from my everyday, sleepwalking mode.
Granted, "Ulysses' Gaze" is NOT for everyone. But to dismiss this film as "another one of those art films", to call it bloated, is an exercise in laziness. And to condemn Angelopoulos of arrogance, well, how about considering the terms confidence and conviction instead? I do not pretend to understand "Ulysses' Gaze", the film is so riddled with ambiguities and leaps back and forth into the realm of the subconscious and the surreal. I just allow myself to go with the flow, and regard a world that is so outside of the grid that it is like watching a transmission from another planet, with real people I identify, sharing genuine affection in small gestures. And even though the English dialogue is lacking at times, there is not a single one of those "Hallmark moments" that seems to pervade in contemporary Hollywood fare.
As for the prolonged landscape scenes, they show parts of the world (Albania, Bulgaria) that are as unknown to me as the bottom of the ocean. If just for this alone, I am hypnotized.
To make the effort, to absorb "Ulysses' Gaze", is a small step towards understanding the ruthless, constant plight of the people of that small corner of the world that is the Balkans. Just one small corner. Imagine.
I have to say that "Ulysses' Gaze" is an incredible film, one of a few by which XX century's great cinema should (and will) eventually be regarded.
A proof of the superiority of European cinema.
Odysseus-926 October 1999
With "Ulysses' Gaze", Theo Angelopoulos proves that he is one of the most influential figures in contemporary cinema. This film explores the idea of how people must go through their personal Odyssey to reach their destination with an unbelievable poetic quality. By exploring the idea of this journey, Angelopoulos shows how much he is influenced by the poems of Nobel prize-winning Greek poet George Seferis. The atmosphere of the film is admittedly extraordinary, aided by the terrific cinematography of Giorgos Arvanitis, Angelopoulos' collaborator since "Reconstruction" (1972).
But the incredibly dense philosophical context of the film does not stop there, as Angelopoulos depicts the tumultuous history of twentieth-century Balkans with extreme precision and artistry.
Harvey Keitel gave the best performance of his career, even managing to speak a few sentences in Greek without sounding too awkward. Maia Morgenstern (as symbols for Penelope, Nausikaa, Circe and Calypso in her multiple roles) and Erland Josephson are also quite good, while Thanassis Vengos gives a tragi-comic note to the film, with his performance as the taxi driver.
The fact that I am Greek (and therefore I am familiar with the political situation and able to identify with events better) admittedly played a major part in my interpretation of "Ulysses' Gaze" and non-Balkan viewers may find it difficult to identify with the film. However, the idea of the journey is universal and it is a pity that Angelopoulos is often dismissed by most Greeks as being too "difficult".
But the incredibly dense philosophical context of the film does not stop there, as Angelopoulos depicts the tumultuous history of twentieth-century Balkans with extreme precision and artistry.
Harvey Keitel gave the best performance of his career, even managing to speak a few sentences in Greek without sounding too awkward. Maia Morgenstern (as symbols for Penelope, Nausikaa, Circe and Calypso in her multiple roles) and Erland Josephson are also quite good, while Thanassis Vengos gives a tragi-comic note to the film, with his performance as the taxi driver.
The fact that I am Greek (and therefore I am familiar with the political situation and able to identify with events better) admittedly played a major part in my interpretation of "Ulysses' Gaze" and non-Balkan viewers may find it difficult to identify with the film. However, the idea of the journey is universal and it is a pity that Angelopoulos is often dismissed by most Greeks as being too "difficult".
An obsessive search
jandesimpson20 June 2002
Warning: Spoilers
SPOILER insofar as some final scenes are mentioned
For me an Angelopoulos experience is unlike anything the contemporary cinema has to offer. His work has a grip that totally mesmerises and leaves me unable to think about much else let alone see another film for several days. Although the pace of this passionately committed cinema is slower than most artists would dare to adopt, the fast forward button is an option I would never contemplate. I embrace the adagio tempo as I would the slow movement of a great symphony, for here indeed we have the time to ponder on what we are being shown, to search for meanings that are not always readily clear. I suspect the reason so many viewers misinterpret the Greek master's work is impatience. Several viewings are essential to unravel these multi-layered visual poems. When "Eternity and a Day" came to our local art moviehouse I had to rush back to see it on a second evening; not enough to assimilate it fully or venture to say what it meant, but sufficient to give me the feeling that, together with "Landscape in the Mist", it could be one of the most profound experiences in any art form in the last quarter of the 20th century. I would not make a similar claim for the rather uneven "Ulysses'Gaze", but at least closer familiarity gives me the confidence to question many of the interpretations I have read. Although it takes the Balkan conflict and in particular the plight of Sarajevo as much of its background it is not a war film. Neither is it a story of a man's journey to find himself. However, anyone observing the different behavioural patterns of men and women will have picked up on the obsessiveness of men with their hobbies as opposed to women. Unlike girls, boys swap cards in the playground to obtain sets. This mania for collection often develops into adulthood until a point can be reached when it might mar a man's relationships with a women. The cinema is littered with examples from George Cole's obsession with kites in the British "Quartet" to the young man's anger when his wife messes up the order of his record collection in "Diner". In "Ullyses' Gaze" we have the profoundest exploration of man's obsession with one enthusiasm to the detriment of everything else in his life. The central character's search for the missing reels of the earliest Balkan film footage is made without regard for his safety through war zones to the extent that he hardly knows where he is at times. "Is this Sarajevo?" he bewilderingly cries to people whose only concern is to escape sniper bullets. Although he meets several women (always played by the same actress) during his odyssey, he is unable to make lasting relationships. In possibly the most revealing scene in the entire film he weeps as he embraces one of his companions "Why are you crying?" she asks. "Because I cannot love you," is the reply. In the background is a huge statue of Lenin about to be shipped on a barge down the Danube for a "collector" we never see; undoubtedly the hero's alter ego. At one point he takes refuge in the memory of his mother (again the same actress) and family. During a remarkable held shot of a room in the family house in Constanza, five years of history are chronicled through three New Year's Eve parties. It is the most marvellous use of truncating time without breaking action that I know. The penultimate scene of the massacre in the mist is sickening. It is about as awful as the ending of Zanussi's "Constans", possibly more so because of the false hope that precedes it. But although this forces the hero to question his obsession, there is no indication that he has conquered it. At moments as dreadful as this the obsession almost becomes a solace.
For me an Angelopoulos experience is unlike anything the contemporary cinema has to offer. His work has a grip that totally mesmerises and leaves me unable to think about much else let alone see another film for several days. Although the pace of this passionately committed cinema is slower than most artists would dare to adopt, the fast forward button is an option I would never contemplate. I embrace the adagio tempo as I would the slow movement of a great symphony, for here indeed we have the time to ponder on what we are being shown, to search for meanings that are not always readily clear. I suspect the reason so many viewers misinterpret the Greek master's work is impatience. Several viewings are essential to unravel these multi-layered visual poems. When "Eternity and a Day" came to our local art moviehouse I had to rush back to see it on a second evening; not enough to assimilate it fully or venture to say what it meant, but sufficient to give me the feeling that, together with "Landscape in the Mist", it could be one of the most profound experiences in any art form in the last quarter of the 20th century. I would not make a similar claim for the rather uneven "Ulysses'Gaze", but at least closer familiarity gives me the confidence to question many of the interpretations I have read. Although it takes the Balkan conflict and in particular the plight of Sarajevo as much of its background it is not a war film. Neither is it a story of a man's journey to find himself. However, anyone observing the different behavioural patterns of men and women will have picked up on the obsessiveness of men with their hobbies as opposed to women. Unlike girls, boys swap cards in the playground to obtain sets. This mania for collection often develops into adulthood until a point can be reached when it might mar a man's relationships with a women. The cinema is littered with examples from George Cole's obsession with kites in the British "Quartet" to the young man's anger when his wife messes up the order of his record collection in "Diner". In "Ullyses' Gaze" we have the profoundest exploration of man's obsession with one enthusiasm to the detriment of everything else in his life. The central character's search for the missing reels of the earliest Balkan film footage is made without regard for his safety through war zones to the extent that he hardly knows where he is at times. "Is this Sarajevo?" he bewilderingly cries to people whose only concern is to escape sniper bullets. Although he meets several women (always played by the same actress) during his odyssey, he is unable to make lasting relationships. In possibly the most revealing scene in the entire film he weeps as he embraces one of his companions "Why are you crying?" she asks. "Because I cannot love you," is the reply. In the background is a huge statue of Lenin about to be shipped on a barge down the Danube for a "collector" we never see; undoubtedly the hero's alter ego. At one point he takes refuge in the memory of his mother (again the same actress) and family. During a remarkable held shot of a room in the family house in Constanza, five years of history are chronicled through three New Year's Eve parties. It is the most marvellous use of truncating time without breaking action that I know. The penultimate scene of the massacre in the mist is sickening. It is about as awful as the ending of Zanussi's "Constans", possibly more so because of the false hope that precedes it. But although this forces the hero to question his obsession, there is no indication that he has conquered it. At moments as dreadful as this the obsession almost becomes a solace.
Pure poetry
a_ruibal28 October 2006
One of the most beautiful, poetic films ever made. The opening scenes are pure, unbeatable art. Rather than the unwinding of the complex narrative itself, it is the visual power of the images that Angelopoulos offers us that make this work so disturbing and beautiful. You have to watch the film as a series of paintings, poems, installations and performances rather than a conventional movie. The acting is superb, especially Harvey Keitel's performance, one of the best that this great actor has ever delivered. Especially memorable is the scene in which an old woman is taken for a ride to her hometown in Macedonia by Keitel. The woman left Macedonia before the advent of Communism and is now returning to her country for the first time in decades. Since her absence, her place has been transformed in a nightmarish communist city, filled with gray, impersonal, concrete buildings. We see the woman helpless and bewildered in an environment that she no longer recognizes, while Keitel goes away. A powerful metaphor of the fast and tremendous transformations suffered by the Balkans during the 20th century.
This is above all a lesson in history. A poignant monument to the memory and fate of Europe.
This is above all a lesson in history. A poignant monument to the memory and fate of Europe.
Very successful mix of political and personal history
cwieck_227 July 2004
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.
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.
My first Theo Angelopoulos' film
Galina_movie_fan17 October 2006
I have to confess that my introduction to Mr. A's works was not completely successful. He is a very talented film maker -this one is given. His shots are breathtaking, the music score takes you out of this world and the subject of the movie is quite respectable. What would you expect from the movie which title is "Ulysses' Gaze"? You would expect Ulysses embarking in the exhausting journey in search of his roots, himself, his one true love forgotten but still living deeply inside his soul which he "has to gaze into if he tries to find it" (according Plato). In this movie the roots are represented by the first cinematic footage ever filmed in Greece and Ulysses - Greek director "A" who had left his home country 35 years ago and now he is back and he HAS to find the footage. Why? Frankly, I am not sure but to find it he is ready to travel by car, by train, by boat, and by foot through the Balkan countries torn by war. In his quest, he also visits and relives his past as a young boy in the country he was born, later left but never was able to forget. He meets a lot of women who fell in love with him from the first sight but he seems to be forever captured by one true love because every woman he meets has the same face (they all are played by the same actress, Maia Morgenstern). I like the movies like this - meaningful, personal, beautiful, the movies that have a lot to say but never rush. This movie has some problems though and one problem is called Harvey Keitel. I love Harvey, I think he is a great actor - brave, intense, ironic, clever, tough but vulnerable. Sadly, for all 173 minutes of "Ulysses Gaze", he looked like he was just about to say, "I am Mr. Wolfe. I solve problems but what am I doing here? How did I let myself take the role that I am so uncomfortable with?" Another problem may be in the unbearable self-importance of what Theo Angelopoulos had to say to the world. Or how he said it. There was one scene in the movie that could've been moving, warm, and beautiful - the people dance in the room, celebrate New Year and the dance continues on as the years pass by. It could've been moving but Angelopoulos chose to make it strangely cold and remote. Why? I don't know. There was one scene in the movie at the 2.5 hours mark that almost made me forget all the negatives - the orchestra on the snow in Sarajevo playing melody so marvelous that it could've easily been written by Orpheus whose music used to hypnotize every living creature on Earth.
I don't regret seeing this movie and I will see more Angelopoulos' films in the future but I could've done something better with 173 minutes of my life.
I don't regret seeing this movie and I will see more Angelopoulos' films in the future but I could've done something better with 173 minutes of my life.
A difficult but ultimately rewarding film
pswitzertatum4 July 2004
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.
A major disappointment
MOscarbradley19 March 2018
You might think that in making a film about Greek cinema or at least about a fellow film-maker Angelopolous would have made his greatest masterpiece but "Ulysses' Gaze" may be his most lugubrious film. Perhaps working mostly in English didn't help or the one-note performance of Harvey Keitel as the exiled film-maker returning to his homeland in search of 3 reels of lost film by the Manakia Brothers was to blame.
The structure is just as complex as anything by Angelopolous as Keitel moves back and forth in time but he also makes for an uneasy observer of Balkan history and the conflict in Sarajevo and ultimately the material feels less profound than I'm sure the director intended; there's only so much old ground he can cover. It isn't a bad film; I don't think Angelopolous could make a bad film if he tried and visually it is very impressive. Rather it is simply a great disappointment from a man who can justifiably lay claim to being one of the ten greatest directors in all of cinema.
The structure is just as complex as anything by Angelopolous as Keitel moves back and forth in time but he also makes for an uneasy observer of Balkan history and the conflict in Sarajevo and ultimately the material feels less profound than I'm sure the director intended; there's only so much old ground he can cover. It isn't a bad film; I don't think Angelopolous could make a bad film if he tried and visually it is very impressive. Rather it is simply a great disappointment from a man who can justifiably lay claim to being one of the ten greatest directors in all of cinema.
Wow! As good as it gets
TheMrLee23 November 1998
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.
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.
Interesting art work, no film
dusan-2228 August 2009
Interesting allegory on Balkan syndrome and very good directing in artistic way, but this is about it. Everything else is a failure. Composition that mostly comprehends directors impression on Balkan phenomena and its reasons and consequences. Role of the film that has been recorded and hidden is probably the formula for Balkan happiness that can't be found. Beginning of the world civilization, beginning of all great wars and conflicts and world in small - these are the Balkans. But no trace, no reason no recipe, no solution. This is good. Very well represented - artistic as the film suppose to be and by all means I do support Theo by that. But ... I don't believe that you can make a film that is going to be slight idea of an expressionist understood only by himself. The film should be artistic way to show the reality to the spectator, an art lover. I have lived most of my life on Balkans, where I was born, among that many years in Greece, but still I cannot follow all the impressions of the director placed in the film. I believe that impressions are for the audience - as a spectator but also as a film maker. All in all, great actor as Harvey Keitel could be used in much better way. The same for the never ending resources on Balkan ideas. 5 out of 10 for Theo.
great cinema
irina-311 March 2002
Theo Angelopoulos can take his place in the line with other great artists, as Bergman, Tarkovskii, etc. The piece is long, but not boring at all, though it's not an easy viewing. Viewer has to posess at least rudimentary knowledge about European, and, in particular, Balkan history. TA transform a personal story into a parable of Odissei's journey, a neverending search for one's soul. The shots are beautiful, even with somehow faded film.
When God created the World, the first thing he made were journeys
tintin-2316 February 2008
Warning: Spoilers
Up until 1995, all of Angelopoulos' films had for their subjects Greece, Greek history, and Greek myths. He continues somewhat with "Ulysses' Gaze," but this time the filmmaker travels beyond the Greek borders into the neighboring Balkan countries. Angelopoulos was not trained in the method of the Actor's Studio. More importantly, he believes that shooting in the actual locations of his stories enhances his sense of actually participating in the film itself, and therefore produces better outcomes. Except for the scenes taking place in Sarajevo, which were shot around Mostar, Vukovar, and in the Krijena region, all the other scenes were filmed on location, in Albania, the Republic of Skopje, Bulgaria, Rumania, and Serbia.
Angelopoulos wrote the script with the collaboration of Tonino Guerra. In "Ulysses' Gaze," history is present, but contrary to "The Travelling Players" where it was the theme, and the group of players rather than any individual character was the "star" of the film, in the present film, history is now relegated to the background, and since "A's" odyssey through the region is the main story, we see a more conventional character in the personage represented by Harvey Keitel, and also in the different characters who cross his path. However, the dialogues are often stylized, and this gives the actors, especially Keitel, a somewhat "mechanical" delivery, with the exception of Keitel's last monologue. This is in keeping with Angelopoulos' intent to occasionally distance his viewers from their emotional responses, forcing them to study and explore the identities of the characters. The Romanian actress, Maia Morgenstern, plays the parts of the four women. These women can easily be identified with the women Homer's Ulysses came across during his voyage. They also represent all the women whom "A" had loved and lost in past. Erland Josephson's is, as always, up to snuff.
Giorgos Arvanitis, Angelopoulos's long time collaborator, is responsible for the stunning cinematography. Many of the scenes are long shots that are also long takes, lasting several minutes, Angelopoulos' undeniable signature. On several occasions, during some long takes, there is a shift in time, emphasizing history's continuity. The film's first scene, on the quay of Salonika, is particularly remarkable in its lyrical construction.
The music is by Greek composer Eleni Karaindrou. Her compositions for the cinema transcend the soundtrack's conventions. Her music does not merely accompany the story, it is an essential element of it. The score is a counterpoint to the cinematic action, and establishes an emotional climate, combining with the image to express what cannot be said in words.
As the title of the film announces, Angelopoulos is taking us on a journey through the tumultuous Balkan region and on a time-travel through its 20th century history. It is, after all, where "the Great War" started, in Sarajevo, where the film ends eighty years later, among more massacres and mayhem. Angelopoulos considers himself a historian of 20th century Greece, who likes to bring lessons of the Hellenic myths into his discussions. I would like to emphasize that it is useless, and even detrimental to the enjoyment of "Ulysses' Gaze," to try to see in this film the retelling of Homer's Odyssey in a contemporary context. Angelopoulos does not try to recount the Odyssey. Rather, the Odyssey is merely a reference point, and the missing films become the journey's Ithacan destination.
On one level, "Ulysses' Gaze" is a search for the roots of the cinema of the Balkans, and more generally, of the cinema itself. "Ulysses' Gaze" considers the importance of film in recording history, and its potential in influencing its future development. Angelopoulos also suggests early in the film, through the events taking place in Florina, that film, not the Hollywood-type schlock, but thought-provoking film such as his can influence people's lives.
The second theme is of course, the odyssey of "A" through the Balkans, and as Ulysses was, "A" must also be clever to overcome all the journey's obstacles in order to reach his goal, the lost film reels. But this journey is actually the individual nostalgic journey of a man in search of his past, his loves, and his losses. "A," a Greek-American, left his native country thirty years before. It is said that of all the immigrants who come to the United States, the ones who long the most for their native country are the Greeks. Many eventually return home, and "A" is just one more of them. Finally, the film is also a Balkans history lesson. The voyage goes on its long and weary itinerary over this hostile region, and as it proceeds, we learn about past but also about present events, which tore, and are still tearing this area apart. Although Angelopoulos' political stand is well known, the film stays clear of any political moral regarding the Bosnian war. Angelopoulos cannot help but be pessimistic in that respect. In Homer's epic poem, Ulysses returns to Ithaca, kills all the suitors, and most likely, lives "happily ever after" with his Penelope. But in Ulysses' Gaze, Angelopoulos knows his history well: the real Balkans are not, nor have they ever been, a heaven of peace. So, the war goes on, and "A," although having attained his Ithaca, is still trapped in Sarajevo, with all of his friends dead. For "A," the odyssey continues, as he recites Homer's optimistic lines, which are aimed at the future, "When I return ." What has meaning to Angelopoulos is not so much the goal of the journey, but the journey itself: "The story that never ends." Angelopoulos' films tend to be monumental and slow, with striking images and a dreamlike rhythm. His films require audience participation through the viewer's memories, thoughts, and feelings. In these respects, Ulysses' Gaze is undeniably an Angelopoulos film, and certainly one of his masterpieces. Notwithstanding most American reviewers, such as Roger Ebert who described "Ulysses' Gaze" as "a numbing bore," I highly recommend this film.
Angelopoulos wrote the script with the collaboration of Tonino Guerra. In "Ulysses' Gaze," history is present, but contrary to "The Travelling Players" where it was the theme, and the group of players rather than any individual character was the "star" of the film, in the present film, history is now relegated to the background, and since "A's" odyssey through the region is the main story, we see a more conventional character in the personage represented by Harvey Keitel, and also in the different characters who cross his path. However, the dialogues are often stylized, and this gives the actors, especially Keitel, a somewhat "mechanical" delivery, with the exception of Keitel's last monologue. This is in keeping with Angelopoulos' intent to occasionally distance his viewers from their emotional responses, forcing them to study and explore the identities of the characters. The Romanian actress, Maia Morgenstern, plays the parts of the four women. These women can easily be identified with the women Homer's Ulysses came across during his voyage. They also represent all the women whom "A" had loved and lost in past. Erland Josephson's is, as always, up to snuff.
Giorgos Arvanitis, Angelopoulos's long time collaborator, is responsible for the stunning cinematography. Many of the scenes are long shots that are also long takes, lasting several minutes, Angelopoulos' undeniable signature. On several occasions, during some long takes, there is a shift in time, emphasizing history's continuity. The film's first scene, on the quay of Salonika, is particularly remarkable in its lyrical construction.
The music is by Greek composer Eleni Karaindrou. Her compositions for the cinema transcend the soundtrack's conventions. Her music does not merely accompany the story, it is an essential element of it. The score is a counterpoint to the cinematic action, and establishes an emotional climate, combining with the image to express what cannot be said in words.
As the title of the film announces, Angelopoulos is taking us on a journey through the tumultuous Balkan region and on a time-travel through its 20th century history. It is, after all, where "the Great War" started, in Sarajevo, where the film ends eighty years later, among more massacres and mayhem. Angelopoulos considers himself a historian of 20th century Greece, who likes to bring lessons of the Hellenic myths into his discussions. I would like to emphasize that it is useless, and even detrimental to the enjoyment of "Ulysses' Gaze," to try to see in this film the retelling of Homer's Odyssey in a contemporary context. Angelopoulos does not try to recount the Odyssey. Rather, the Odyssey is merely a reference point, and the missing films become the journey's Ithacan destination.
On one level, "Ulysses' Gaze" is a search for the roots of the cinema of the Balkans, and more generally, of the cinema itself. "Ulysses' Gaze" considers the importance of film in recording history, and its potential in influencing its future development. Angelopoulos also suggests early in the film, through the events taking place in Florina, that film, not the Hollywood-type schlock, but thought-provoking film such as his can influence people's lives.
The second theme is of course, the odyssey of "A" through the Balkans, and as Ulysses was, "A" must also be clever to overcome all the journey's obstacles in order to reach his goal, the lost film reels. But this journey is actually the individual nostalgic journey of a man in search of his past, his loves, and his losses. "A," a Greek-American, left his native country thirty years before. It is said that of all the immigrants who come to the United States, the ones who long the most for their native country are the Greeks. Many eventually return home, and "A" is just one more of them. Finally, the film is also a Balkans history lesson. The voyage goes on its long and weary itinerary over this hostile region, and as it proceeds, we learn about past but also about present events, which tore, and are still tearing this area apart. Although Angelopoulos' political stand is well known, the film stays clear of any political moral regarding the Bosnian war. Angelopoulos cannot help but be pessimistic in that respect. In Homer's epic poem, Ulysses returns to Ithaca, kills all the suitors, and most likely, lives "happily ever after" with his Penelope. But in Ulysses' Gaze, Angelopoulos knows his history well: the real Balkans are not, nor have they ever been, a heaven of peace. So, the war goes on, and "A," although having attained his Ithaca, is still trapped in Sarajevo, with all of his friends dead. For "A," the odyssey continues, as he recites Homer's optimistic lines, which are aimed at the future, "When I return ." What has meaning to Angelopoulos is not so much the goal of the journey, but the journey itself: "The story that never ends." Angelopoulos' films tend to be monumental and slow, with striking images and a dreamlike rhythm. His films require audience participation through the viewer's memories, thoughts, and feelings. In these respects, Ulysses' Gaze is undeniably an Angelopoulos film, and certainly one of his masterpieces. Notwithstanding most American reviewers, such as Roger Ebert who described "Ulysses' Gaze" as "a numbing bore," I highly recommend this film.
Not easily accessible but great post-modernist film
LeesGaze29 October 1999
There are many self references to the director's other films, great modern greek poets, balkan history, and ancient greek thought and literature. The more you know the more you get out. I had some knowledge of some of these areas but the film moved me to read three modern greek poets and a book about the other films of this director. I have to be satisfied with the book because I can't seem to find the videos.
The long poetic shots, the surrealism, and Keitel's address at the end will remain with me forever. One of the greatest pieces of art.
The long poetic shots, the surrealism, and Keitel's address at the end will remain with me forever. One of the greatest pieces of art.
A masterpiece about the loss of innocence
genjuro3 November 2007
Warning: Spoilers
Truly a masterpiece, perhaps the best film of the 90s. Angelopoulos made an incredibly beautiful, poetic and deep film. When you consider its title, many people pay too much attention to the word "Ulysses", when "Gaze" is probably more important. This film is about the loss of innocence. The main character, "A", searches for the Mannakis films. Pioneer filmmakers in the region, "A" wants to recover their innocent sight, that first sight of the early days in cinema. That search takes him on a journey around the Balkans, during the war. Angelopoulos wants to show us that, just as we have lost our innocent gaze towards films, there's no possible innocent gaze in a war, no objective approach. There's too much history behind, too much baggage, too much hate. There are no good or bad sides; everybody kills each other. That's why the final showing of the Mannakis tapes is so touching. Finally, a clean sight, an innocent gaze.
A wonderful travel in the memory as a long dream
beppe_miletto27 August 2001
Nevertheless of an historic fall of a political dream this travel into the historic memory is a poetry from the first photogram to the last one... Harvey Keitel confirm his big appeal while playing characters with great personality and deep feeling.
The first thing God created was the journey, then came doubt, and nostalgia.
lastliberal15 September 2009
An acquaintance today bemoaned the lack of historical knowledge that Americans have in their own history and government. To expect them to have a knowledge of European history, particularly Greek and Balkan history would be ludicrous. That knowledge of history would serve you well as you try to understand the work of Theodoros Angelopoulos. a director on a par with Fellini, and Kurosawa, and Bergman.
Angelopoulos likes the long, slow shots that give you time to reflect on what you are seeing. Those that are impatient have difficulty with this, but those who appreciate great cinema will luxuriate in the process.
Winning two awards at Cannes, Angelopoulos was disappointed he did not win the Golden Palm. 1996 was a great year for film, and he did very well with this one despite that.
Angelopoulos likes the long, slow shots that give you time to reflect on what you are seeing. Those that are impatient have difficulty with this, but those who appreciate great cinema will luxuriate in the process.
Winning two awards at Cannes, Angelopoulos was disappointed he did not win the Golden Palm. 1996 was a great year for film, and he did very well with this one despite that.
Almost a masterpiece
manossg6 April 2010
This is truly an enchanting film about self-exploration, by the great auteur Angelopoulos.
The movie is poetic, melancholic and lyrical (as expected from Angelopoulos), full of superb cinematography. The scenes at the start, the Lenin statue in the boat, the Sarajevo scenes (orchestra and mist scenes), the old lady left alone in the town square, the family celebrating the new year...are works of pure art themselves.
Can't believe it lost to Underground.
I am not giving it 10/10 because of the not up-to-par acting of Keitel and Karaindrou always regurgitating the same piece of melodramatic music again and again throughout Angelopoulos' films.
The movie is poetic, melancholic and lyrical (as expected from Angelopoulos), full of superb cinematography. The scenes at the start, the Lenin statue in the boat, the Sarajevo scenes (orchestra and mist scenes), the old lady left alone in the town square, the family celebrating the new year...are works of pure art themselves.
Can't believe it lost to Underground.
I am not giving it 10/10 because of the not up-to-par acting of Keitel and Karaindrou always regurgitating the same piece of melodramatic music again and again throughout Angelopoulos' films.
Often stunning, but too often deadening
contronatura21 February 2000
I certainly do respect this film. It has some stunning images, an interesting concept, and great locations. But while the film might be exploring the history of the Balkans in a fascinating way, the execution is often times incredibly dull. Harvey Keitel is badly miscast as well, and seems awkward in delivering some of his lines and monologues. For me, this film is sort of the cinematic equivalent of the emperor's new clothes. I don't think this film is nearly as profound or beautiful or subtle as two other films that cover similar ground, Underground and Before the Rain. I would recommend those two masterpieces long before this one.
Brilliantly flawed film
bob the moo25 July 2002
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.
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.
Wandering in the mist.
SameirAli12 September 2021
The second part of the Borders Trilogy, in which an exiled film maker in search of the lost reels of a significant historical film meets a women. As expected this is highly philosophical, slow and visually amazing movie.
A feast for the senses.
L. Hamm28 December 1998
I first saw this movie when it was aired on a local public television station at midnight. I was exhausted but the movie was so intriguing that I could not fall asleep. Director Angelopolous' use of a single camera per scene are very innovative. Excellent work, too, by Harvey Keitel.
Flawed, difficult, but amazing
runamokprods19 December 2010
On the surface, this is deeply flawed; there's some awkward dialogue, Harvey Kietel is OK, not amazing, the female characters are thin. But it's so damn full of breathtaking images, brave cinematic choices, multi-minute long shots, and a heart rending climax, that the flaws don't seem important some how. The story: A Greek film director caught in his own mid-life artistic and personal crisis goes on an odyssey to find lost footage by Greece's first filmmakers, traveling through the Balkans and revisiting his own life in the process. I can certainly understand the mixed reviews. This isn't an easy film, and if watched in the wrong mood, or without knowing what you're getting into (a slow, thoughtful 3 hour rumination on life, the past and art) could be very off-putting. But accepted on its own terms, warts and all it's an amazing odyssey; visual, emotional and thematic.
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