Blog post on Cristian Mungiu's Tales from The Golden Age (2009)
“The Legend of the Official
Visit”
The
protagonists in this legend are the mayor, his right-hand man Georghita,and the government inspector
Sandu. Other characters include Florica
the carouseloperator, Florica’s daughter,
and Gogu, the second government official who arrives with Sandu. The motif of the phone ringing explores how
the protagonists of this legned interact with the government authorities. With the inspection and the possibility of
the motorcade coming, the townspeople have to prepare their town with signs of prosperity and
signs of good faith to the government.
They do not appear to resent the government, but are instead excited
(though very stressed) about their village’s opportunity to participate in this
event.
The
majority of the legend looks to have been shot with a medium or wide lens, in
order to capture a large amount of scenery in addition to the people, along
with a few close-ups to show the characters’ faces, especially during pivotal
moments in the tale. These up-close
shots are a way to portray the emotional dynamics more dramatically than a
simple shot from one angle only. Once
Sandu is satisfied with the village
preparation, there is a scene of him eating and watching the musicians perform. His face looks idiotically
happy, and gives a very different character
to the scene than that of the scenes during the preparation. Certain scenes are shot with a handheld
camera, which gives the tale a slightly more hectic feel and accentuates the
villagers’ stress.
The
short film makes light of this entire situation and the potential criminality through the interactions between
Georghita, the townspeople and the inspectors. It becomes apparent that the expected level
of sacrifice and devotion to the
government is absurd; they blindly follow because that’s what’s expected of them. Of the protagonists, Sandu and Gogu
exhibit the greatest flair. Gogu is
generally sleazy, while Sandu abuses his power.
The director also casts Ceausescu as criminal by making the dire
situation of the “Official Visit” seem entirely ludicrous, thus showing the
whole system as corrupt and that it is not the individuals who should bear the
blame. At the beginning of this story,
the director creates a hectic atmosphere by transitioning between scenes in
which the characters are receiving new and often contradictory orders. The film cuts between the key moments while
the village continues to get ready. The director’s choice to only show us the
beginning and (near) end of the officials’ carousel ride retains the childlike joy
of the carnival, the beauty of the scene, and the irony of the situation, undercutting
the unfortunate situations that the
characters find themselves in and making them comedic rather than potentially
tragic. The siuzhet does not include the motorcade passing through town, but
instead closes with the final phrase, “legend has it they were still spinning when the motorcade arrived.”
The
climax of this legend is the call informing Comrade Sandu that the dignitaries
will not be coming to this town. Comrade Sandu relays the message then demands
that everyone get on the carousel.
Everyone, including the ride’s operator, does so because citizens had to
obey the party’s orders, even the most ridiculous ones. The humor of this
legend, together with the stupidity of communist Romania, is magnified by the
screams of drunken party members who are trapped on a children’s play machine
by their own order. The fact that the
characters are spinning in a circle as the camera pans the scene brilliantly
emphasizes the chaos of the moment for the viewer. Night also falls at that point, making the
lights of the carousel stand out in the shots while hiding the village from
view, further distancing the action there from the earlier part of the
film. The inspecting mission is stripped
down to its essential ridiculousness and stupidity when it is viewed by a
bystander (the shepherd) who has no idea what has been happening. The final “twist” occurs when the viewer
hears after the tale that, in the end, the delegation did pass through that
area and found everyone still
spinning on the carousel.
The
Romanian context is certainly important because it establishes the power dynamics that drive the plot, namely
Sandu’s arrogance and the villagers’ propensity to acquiesce. The presence of the communist system is also
contextually and historically specific, as it provides justification for the
party’s abuse of power. It also magnifies defects inherent in human nature,
such as greed and overweening self-interest.
Though the government is really at fault here, it is important for its
citizens to not lose their heads and to question the things that are demanded
of them. There is, however, a universal
message within this index between privilege and foolishness: those in unmerited
positions of power may fall so accustomed to their privilege that they quicken
their own demise and look very foolish in the process.
“The Legend of the Greedy
Policeman”
This
legend follows said policeman and his family and neighbors. Most of the screen
time is devoted to the interactions between the policeman’s son, Danut, and the
neighbors’ son, Mircea. The policeman uses his connections to have a pig
brought to him illegally – during the regime, this would be considered hoarding
and a serious crime. The characters in the film, while breaking the law, are
not presented as criminals or immoral. Instead, the director uses the
criminality of the act to comic effect, framing the regime’s laws as ridiculous
and nonsensical.
The
legend uses many close-up shots of Danut and Mircea’s faces when they are
talking, giving a sense of friendship and closeness to their interactions. The
siuzhet also cuts between the scenes at home and school abruptly, without any
transition. This is used memorably in the last scenes of the legend. When a sudden gas explosion takes place, the
siuzhet switches from an indoor to outdoor view, which immediately cuts to a
shot of Danut at school the next day, with only minor injuries. The siuzhet
here serves to give the moment a comic rather than tragic or horrifying effect,
as such an explosion may trigger.
There
are two main revelatory scenes in the legend. The first is when Uncle Fane
delivers the pig, and it is revealed that the pig is still alive. This
immediately creates tension as the family must figure out how to slaughter the
pig without attracting attention, while they were anticipating a quiet delivery
of an already-dead pig. The second ensues when the pig explodes. Before that
point, the family seem to have executed their plan well, and the danger seems
to have passed. But with the pig explosion, their cover was immediately blown,
leaving them to deal with the consequences of their actions.
A
small amount of knowledge of the situation in Romania is needed to fully enjoy
the film, particularly the significance of hoarding the pig. Such a thing would
not register as a crime for most audiences nowadays, and so the tension of the
legend might be lost. However, the character interactions should engage modern
viewers. The childrens’ horse play at school is also engaging, as are the
frantic and exasperated attempts by the family to slaughter the pig, even if
the consequences for their failure are unclear to the viewers.
“The Legend of the Chicken
Driver”
This
legend follows Grigore, who transports chickens between towns. Dealing with the
black market in this legend is presented as routine and morally neutral;
Grigore openly and casually discusses trades with his friend over household
chores. Grigore is told never to stop overnight while driving, yet one day his
truck’s tires are stolen and he is forced to stay in an inn. The next day he
discovers that the chickens in his truck
have laid countless eggs. The innkeeper convinces him to collect the eggs for
her to trade, which he does, due to his infatuation with her. This is presented
as a neutral or even virtuous action, as it can be seen as a selfless desire to
help a struggling innkeeper. However, he attempts the same crime a second time
later, and this time is caught and jailed. In the final scene, his wife comes
to visit him, as if by karma for his attraction to the female innkeeper. His
actions are still somewhat justified by the film, though, as his wife is
presented as bland and stern.
The
siuzhet of the film tracks Grigore most of the time, casting the events from
his perspective. When he is caught by the police, it is presented suddenly, as
a rapid series of shots. First sirens are heard, then a shot of police cars and
flashing lights, then a shot of Grigore’s face. This makes it seem very
matter-of-fact, and that Grigore getting caught by the police was an expected
outcome, which for the audience it was. The turning point in the
legend is when Grigore stays overnight at the inn. Before then, he had been
following his routine diligently, but the stay at the inn breaks his routine,
opening him up to temptation. When he
discovers that the chickens have laid eggs after this, he quickly makes the
decision to gather them for Camilia.
The
legend is understandable without knowledge of the Romanian time period. While
the legend relies on some things such as food shortages and the black market
which modern views may be unfamiliar with, they are made clear pretty well in
the beginning of the film, so that the film presents a self-contained account
of the times. Grigore’s relationship with Camilia is also universal and understandable.
His quickness to help her, and their other character interactions, are based
more on human nature than the specific Romanian context.
“The Legend of the Air-Sellers”
Of
the different vignettes in Tales from the
Golden Age, the one that seems to most clearly exemplify the state’s grip
on the Romanian people is “The Legend of
the Air Sellers.” The protagonists in this vignette are Crina and Bughi, and
they break government laws by impersonating legitimate inspectors from the
Ministry of Chemistry. Bughi in particular can speak with a very authoritative
voice which is complemented by his sharp suit and convincing
ID card. Crina’s family qualifies as Romanian “middle class” and therefore
quite poor – her parents must choose between making car payments and paying for
Crina to take a trip with her friends. The
similar living spaces of her neighbors show the pervasiveness of this white-collar
poverty.
When
fate brings Bughi to her door, Crina decides to join him in his extortive
scheme to steal bottles from folks who could otherwise get small deposits for
returning them. Though Crina essentially steals from other Romanians, she is
certainly not portrayed as an evil character. Rather, her scheme is motivated
by poverty and necessity. The criminal actions the two engage in, while
definitely wrong, as they are defrauding innocent people, also feel light and
childish—a scheme one would imagine as a kid (but not try given its absurdity).
After all, Crina—who is amazed by the simple sight of a video player and
laments that she “eats yogurt all her life”—only wants to use the bottle money
to finance a school trip that her parents initially refuse to pay for.
In
this tale, there does not seem to be a major discrepancy between the fabula and
the siuzhet. Though more of
the focus is on Crina and her attitudes and experiences, the events of the
legend unfold in a chronological manner, without the use of flashbacks or
flash-forwards on the part of the director and screenplay writer. The director
alternates between close-up interior shots of Crina’s apartment and wider
exterior shots of her exploits with Bughi to highlight the dual nature of the
protagonist’s life. We observe numerous
scenes of Crina watching the film Bonnie
and Clyde, and this motif of movie clips playing in the background sets the stage for Crina’s telling
reaction shots. In one scene, as Bonnie
and Clyde plays in a dark bedroom, the camera then pans to a close-up of
Crina’s face, illuminated by the flicker of the television. Her expression
transitions from contemplation to that of smugness, as she realizes that collecting
multiple bottles of air samples from each apartment would be more efficient
than single bottles of tap water.
The
short film reaches its climax when Crina takes the huge risk of asking an
apartment administrator to collect bottles from every household in the block. As she loads the car, she sees a police
car parking next to the building, and the camera then refocuses on her
terrified face. The ensuing stairway and
rooftop chase seem to be filmed without a tripod, and the camera shaking adds
to the tension of the situation. Then,
Crina makes her escape by leaping to an adjacent building. For a few seconds, both
Bughi and the audience must consider that Crina fell to her death, until she suddenly
reemerges behind a clotheslined blanket on the other roof. Though stealing from
those just as poor as either Bughi or Crina is condemnable in itself, there is likely an irresistible
urge to cheer for the duo in their efforts. The climax suddenly changes the
course of the plot from an underdog story to that of a tragedy.
Although
the legend is deeply embedded in Romanian society under Ceauşescu, a previous
knowledge of the era is certainly not necessary for understanding or enjoying
it. The desire and motivation to execute what amounts to be a relatively small scale scam seems very
characteristic of the rebellious stage that humans go through at that age. Young
people, based from personal experience, are more likely to fall victim to an
illusion of invincibility. It is also shocking, though, to hear that the low
hourly wage of an engineer, or that every apartment shown has problems with the
cleanliness of its air and water. Yet such squalor was a reality for an entire
country through the decades of the Ceauşescu regime. Furthermore, extracting
the core of the story from its context, this legend shows the moral development
of an individual: Crina realizes that stealing from others is not a solution to
her poverty.
Post edited by Kyle Casey, Melissa Fisch, Eitan Tye
Post edited by Kyle Casey, Melissa Fisch, Eitan Tye