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De ce trag clopotele, Mitica? (1981)

| Comedy, Drama
A small world of bourgeois intrigues and frivolities lived with intensity by its own protagonists: Pampon's lover, Didina is in love with the barber Nae, who is Mitza's lover, while she is ... See full summary »



(screenplay), (based on work by) (as I.L. Caragiale)


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Cast overview, first billed only:
Mariana Mihut ...
Mita Baston
Petrica Gheorghiu ...
(as Petre Gheorghiu)
Tora Vasilescu ...
Didina Mazu
Gheorghe Dinica ...
Florin Zamfirescu
Stefan Banica
Constantin Baltaretu
Ion Anghel
Jorj Voicu
Alexandru Dragan
Tamara Buciuceanu-Botez
Aurel Giurumia


A small world of bourgeois intrigues and frivolities lived with intensity by its own protagonists: Pampon's lover, Didina is in love with the barber Nae, who is Mitza's lover, while she is Cracanel's lover. One letter starts the ball rolling and ugly characters start revealing themselves in a burlesque-like fashion. Written by meridoric

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Comedy | Drama





Also Known As:

Why Are the Bells Ringing, Mitica?  »

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Did You Know?


Romania's official submission to the 63rd Academy Awards (1991) for Best Foreign Language Film. See more »

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User Reviews

Grossly overrated
9 November 2008 | by (Romania) – See all my reviews

The basic value of this movie is rather conjectural than intrinsic. It acquired a mythical subversive quality, simply because the communist censorship of Romania brutally and unfairly banned it (going to such lenghts as even locking all the copies into a safe, where they stayed until the 1989 Revolution). In truth, the movie had nothing subversive, being only too brutal, misanthropic, naturalist and frivolous for the communists' taste. Pintilie's main (and childish!) mistake was to bring to open an essential dimension of Caragiale's satire that consisted in SUBTLETY. The great playwright's pieces seem to depict a vaudeville-like reality, in an innocuous and harmless comedy style - being based, in truth, on a very profound critical vision to the most essential vices and fallacies of human nature. Tempted by a shallow ambition to shock the sanctimonious communist censors, Pintilie raised this implicit element to a violently explicit level. Well, what he sought, he got! At a professional level, the movie is extremely in-equal, combining a really valuable stage heritage (powerful characters, exquisite performances, atrocious humor), with a totally amateurish movie-directing. Without any legitimate reason, it compiles onto the main play's storyline several other alien subjects from various short stories, thus becoming chaotic, messy and over-the-top. The mise-en-scene is usually skillfully conducted (Pintilie being a good theater director), but compromised by too many awkwardly framed and timed shots. Towards the end, everything becomes redundant, over-lenghtened and boring... And the final shot is a complete failure: without any aesthetic justification, Pintilie takes an auctorial distance, including in the picture his own camera-crew (only as a cheap and tacky trick), and himself, with the parting-shot: "Let them die stupid!" Such an attitude towards his own characters, by turning the critical distance into petty wickedness, is intolerably unprofessional.

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