希腊电影展

　　导演生平和作品介绍：
　　PANTELIS VOULGARIS
　　GREAT EVENTS, SMALL PLAYERS
　　In the mid-1960s, when Greek cinema was dominated by the standardized products of an assembly line production of films intended for Greek audiences, two short films came along and caused a stir, introducing a renewal in both theme and expression. These were The Thief and Jimmy the Tiger (1966), by a twenty-five-year-old newcomer, Pantelis Voulgaris. Having learned useful lessons from his experience as an assistant director on commercial productions, Voulgaris put forth, with these two films, a proposition for a cinema that sheds light on moments; on everyday situations and behaviors, with respect for narrative rules, while at the same time adopting a sideways, critical point of view, which broaden-ed the horizon of the film towards the examination of ideo-logical and political issues, thus rising above the level of mere ethnography.　
　　This proposition will find its first full expression in his first feature film, Anna's Engagement (1972), one of the first film to extricate Greek cinema from its international isolation.
　　In the films he directed after the fall of the dictatorship -and after The Great Love Songs (1973)-, Voulgaris' interest in Greek political reality and Greece's recent history is expressed more directly, but the films remain preeminently anthropocentric. In Happy Day (1976), Voulgaris was able to talk about con-centration camps for political prisoners during the Greek civil war. However, by choosing an abstract way of expression, he focuses on the people, on their emotions and on the relationships which develop between them. In Stone Years (1985), even though he refers to the period between 1954 and 1974 which was politically charged, he does not describe the dramatic political events of that time, but rather he documents the behavior and reactions of his heroes. Even in the historical tapestry of Eleftherios Venizelos (1980) it is clear that Voulgaris places great importance on the recording of the human re-actions and everyday behaviors of historical figures.
　　In The Striker with the Number 9 (1988), Voulgaris addresses football and attempts, through the rise and fall of an ambitious young soccer player, to describe the microcosm revolving around that sport, which, at the same time, is such a popular spectacle. An equally popular spectacle in Greece is the Athenian revue theater, to which Voulgaris turned some years later with his film Acropole (1995), where he will use the story of the fleeting success of an actor as a pretext in order to docu-ment what goes on both on and back-stage in such a theater.
　　In Quiet Days in August (1991) and It's a Long Road (1998), Voulgaris returns as a more mature and consummate filmmaker to the form of his earlier films. Each one of them comprises three stories which develop independently of each other, though con-verging thematically. In these stories, he approaches his heroes during a critical moment in their lives and succeeds in shedding light on their reality and communicating their deeper truth, as he follows an austere but absolutely effective mise-en-scene.
　　Pantelis Voulgaris' films may appear very different, if glanced at superficially. But if we examine them a little more closely, we will see that they all have a common aim, and that is to bring together small things, i.e. individual, everyday things, with great things, i.e. History and social reality. And that is a worthy aim for an art which respects itself and its audience.
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　　PANTELIS VOULGARIS: Director
　　THE AUDIENCE IS THE JUDGE
　　By James Karas
　　jameskaras@rogers.com
　　　　　
　　When film director Pantelis Voulgaris visited Toronto in 1996, a squirrel bit him, his wallet was stolen and he lost his hat in the waters of Niagara Falls. The noted director was in Toronto again this September for the premiere of Brides, his 10th film, at the Toronto International Film Festival. The visit was decidedly less incident-prone.
　　　　　
　　The screenplay for Brides was written by his wife, novelist Ioanna Karystiani, and is based on an actual event about hundreds of young women being sent to North America in 1922 as mail order brides. The idea came to him and his wife when they read a story about the incident in a newspaper. His wife set out to do the research and wrote the script.
　　The trips undertaken by the mail order brides were voyages of no return, he said in a recent interview. And they were not voyages for the women alone but for the entire family - they were trips of duty, of obligation. He has a great deal of affection and admiration for the brides and considers the film not just about Greeks of the Diaspora but about all people who try to get out of poverty and maintain their dignity and pride.
　　In the end, what counts is the reaction of the audience, he said. The director creates the work and hands it over and waits for the moviegoers to pass judgment. On the night of the premiere of Brides Voulgaris stepped on the stage of the Isabel Bader Theatre in downtown Toronto to accept the verdict of the first viewers of his film and to answer questions.
　　The only way to assess the audience's verdict is by the quality of the applause, he said. Sometimes it is just obligatory clapping of the hands but at other times you feel the warmth of the applause where they do not stop, he said. He felt a great deal of warmth and enthusiasm emanating from the audience on the first showing of Brides. You shoot a scene and hope it will work but you do not know until much later whether you succeeded or not, he added.
　　Voulgaris was born in Athens in 1940 and, after high school, attended the Stavrakou Film School in Athens because, unlike university, it had no entrance exams. After that he joined Finos Film as an assistant director where he worked on some forty films according to an interview that he gave some years ago.
　　His first major film was Anna's Engagement (To Proxenio tis Anna's), which he made in 1972 during the Junta. He received international acclaim for it including the FIPRESCI (International Federation of Film Critics), Otto Dibelius and OCIC awards at the Berlin Film Festival.
　　November 1973 was the year of the massive protests against the dictators that has come down in history as the Politechnio because the Athens Polytechnic was the focal point of the demonstrations. Voulgaris participated in the protests and shortly afterwards was arrested and sent to the prison island of Giaros. While he was at Giaros, his wife was in Berlin receiving awards for the work of the emerging director. Voulgaris was released a few months later upon the fall of the Junta in June 1974.
　　He used his experience at Giaros in his next film HAPPY DAY (1976) about life in a concentration camp His other major films are Eleftherios Venizelos (1980), The Stone Years (1985), The Striker With The No. 9 (1988), Quiet Days in August (1991), and Acropole (1995)
　　Unlike other artists, a director cannot produce a piece of work and throw it in his desk if he does not like it, he said. If his wife does not like a novel, she can just put it away. A director who has to pay so much money to produce even a small amount of footage does not have the luxury of forgetting about it. He has to put his work out to be judged by the public.
　　Greek directors have even less of a luxury in the tough and limited capital markets for films. Brides was cast and ready to be filmed as early as 1997 but lack of financing delayed the making of the film until 2003. Presently the producers are looking for a distributor and there is no certainty that they will find one or what the financial success of the film will be.
　　　　　
　　But whatever the fate of his Brides, this visit to Toronto was quite different for Voulgaris from the one in 1996. He gave squirrels a wide berth, kept a firm grip on his wallet and did not bring a hat.
　　

　　没看过他的片子,还以为会有安哲的呢!
　　

　　错过了，此贴顶一个。
　　这种消息了解得太少了
　　

　　我那天是偶然去看的《安娜的婚约》，惊为天人！简直象发现了一个新大陆。虽然是70年代的老片子，胶片已经有划痕，而且声音也很糟糕，但是导演从容不迫的叙事、冷静深藏的态度、对中产阶级虚伪的批判、以及对老年人内心世界的掌控，使全片有一种忧伤的气质。很贵族、很优雅。看了《寂寞的八月》之后，才发现原来王家卫太过张扬了。《漫漫长路》是三个故事组成的，三个忧伤的小品，却充满惊心动魄的回眸、枪声、毁灭一切的绝望。这个导演很喜欢使用歌曲，有时是老唱片里的爵士、舞曲、有时是很土风的酒吧现场演唱，有时是教堂唱诗班；同时，他也很喜欢、很擅长拍老年人（特别是老年女人）的面孔。和安哲的片子有同样沉思的格调，但更感性。
　　下一个：《阿科波罗歌舞团》应该能引起对安哲电影的联想。
　　

　　除了香料共和国其它似乎都买不到的样子 :em01: