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Nicolae Constantin Tanase
Ana Maria Guran
In 1980s Romania, thousands of Western films smashed through the Iron Curtain opening a window into the free world for those who dared to look. A black market VHS racketeer and a courageous female translator brought the magic of film to the masses and sowed the seeds of a revolution.
In spite of being born towards the end of the 80s, I recall several "Margareta Nistor movies", her trademark dubbing scarring my youth alongside the zombies of Return of the Living Dead. It's funny, particularly because her often inflection-less voice made the humor of the movie much harder to understand at the time. Then again, maybe that had more to do with me being less than a decade old myself and thinking I might be immune to the undead.
At its heart, CNvsC is a film about the passion of movies. During communist Romania, in the especially dire last ten years of Ceausescu's reign, an illicit business venture involving the dubbing, copying and distributing of Western cinema spawned and spread like wildfire in what became a cultural landmark of the times. Rocky, Missing in Action, Once Upon a Time in America, Bloodsport, Dirty Dancing are just some of the many movies featured. Using current day interviews with both the protagonists of the movement (foremost Mrs. Nistor as the "localization" specialist, Mr. Zamfir as the ambivalent VHS peddler) and Romanian personalities, as well as laborious reenactments of key events, director Calugareanu portrays the dichotomous fear/love relationship of treading the anti-establishment line. At its best, the film is humorous and playful, insightful with a dark edge in exploring the oppressive machinations behind the scenes. While hyperbolizing, it sets itself up as a thoroughly enjoyable ode to a movement that played a part in empowering the Romanian people.
But the causation is forced and based on weak evidence. The urge to make such a powerful claim and even the attempts of dramatizing certain events play against what CNvsC is really strong at: highlighting the cultural impact and the adventurous affairs surrounding a seemingly banal act of translation. What it fails to do is look beyond the immediate effects of the whole process and the romance of movies as an escape from the everyday. Questions like how the exposure to a fairly homogeneous body of films affected Romanians' world-view, especially given that most of the films were not quite paragons of Western film-making, is not tackled. Nor is the matter of how the practice of what essentially is piracy contributed to a certain cultural acceptance of digital duplication in decades to come, as seen across the Eastern block. At the screening, Nistor mentioned that she had met her counter-parts from Estonia or Russia, who were different to her only in that they were all men.
So, while on the one hand the documentary works as a look into a pretty special phenomenon, it is frustrating that it avoids going deeper into either the social ramifications, or further exploring the more personal experiences of the likes of Mrs. Nistor to let the local interpretations take hold of an otherwise too descriptive approach - aimed to a more universal audience, with little knowledge of Romanian oddities.
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