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• W121217961 abstract "The release in 1992 of Lucian Pintilie's The Oak marked triumphant return of this gifted Romanian director to cinema after absence of almost twelve years. Although as stage and opera director Pintilie earned worldwide reputation by working abroad, beginning in 1974, with well-known companies in France, England, Canada, and United States, he chose to shoot all his films in Romania. All of these films deal with native themes of which Pintilie had firsthand knowledge. Conscious of documentary value of film medium, Pintilie made name for himself in international motion picture industry by testifying and reflecting on what he was best acquainted with-the Romanian reality of his time, with all absurdities of Communist regime. Eugenia Voda considers The Oak the first truly world-wide smashing success of Romanian cinematography ( 17). This statement has constantly been reinforced by those Western critics who have enthusiastically related its significance for today's cinema to strong influence of Wajda's The Marble Man on its own time. For them, Pintilie's film is thrilling social and political fresco, stunning picture of commotions shaking up Eastern Europe nowadays. The reviewer of Cahiers du Cinema went as far as to correlate penultimate episode of film-a bus full of children first taken hostages and then mercilessly shot by soldiers because authorities preferred to sacrifice them rather than negotiate with the terrorists-to similar real event that took place in Yugoslavia those very days. He also made pertinent remark that can function as explanation for differences between novel on which film is based-Ion Baiesu's The Balance, written in 1984-and script itself: although action is placed at end of Ceausescu's era, what film shows and says, in climate of more freedom of expression, undoubtedly makes it post-Ceausescu film. The Romanian critics unanimously acclaimed The Oak; however, individual political opinions sometimes left marks on their critical formulations. Unable to deny its artistic value, some called it a hostile masterpiece, a distorting and unfavorable mirroring of Romanian realities (Voda 17). These represent ever smaller segment of Romanian criticism still writing under influence of old mentalities and nationalistic cliches. For them, positive aspects make up true image of country, some clear reminiscence of socialist realism. The liberal, enlightened critics grappled with same problem in different manner: only lover can feed on shortcomings and deformities of his love's object (Lceanu). Consequently, they defined The Oak a controversial film which aims at reconsidering concept of normalcy (Serban 17); an allegorical love story functioning as counter-balance to grotesque, mutilations and calamities of world born under double zodiacal sign: Ceausescu and Caragiale (Voda 18), greatest Romanian writer of satirical comedies; a film devoted to recent past but also to present in which Romanians are feverishly trying to redefine their own identity (Duma 6). These critics extensively commented upon basic characteristics of Pintilie's film-black humor, grotesque with cathartic value, tragic constantly tamed by therapeutics of ridiculous-which together shape lively images of Romania in 1980s. Finally, from extreme right to extreme left of political spectrum, they all agreed that film evinces typically Romanian trait: propensity toward loquacity, toward colorful language. The characters swear passionately and ostentatiously, their rich repertory of swearwords being special gift of Romanian language itself. Hence, difficulty, even impossibility of finding equally graphic equivalents when translating them in other languages. However, both novel and film use this foul language to excess in order to make clear political statement: to swear and to snap fingers at others have long become Romanian way of reacting to and/or resisting terror, privations, and interdictions of all kinds. …" @default.
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• W121217961 date "1998-01-01" @default.
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• W121217961 title "The Oak: A balancing act from page to screen" @default.
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