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Carnival Scenes (1982)

De ce trag clopotele, Mitica? (original title)
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 »

Director:

Lucian Pintilie

Writers:

Lucian Pintilie (screenplay), Ion Luca Caragiale (based on the play by) (as I.L. Caragiale)
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Cast

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

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

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

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Details

Country:

Romania

Language:

Romanian

Release Date:

1982 (Romania) See more »

Also Known As:

Carnival Scenes See more »

Filming Locations:

Bucharest, Romania See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
See full technical specs »
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Did You Know?

Trivia

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

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User Reviews

 
A tour-de-force
12 November 2013 | by Ana_BananaSee all my reviews

It had all the good premises: a great director, an all-star cast, and it was based on the works of a great author. Still...

After the first shocks triggered by its naturalism and the real delight of many memorable satirical scenes (the heated political discourse in the public bath, the chase in the barbershop, the 'patriotic' Marseillaise singing, the eulogy for Mitica, and so on), the viewer becomes a bit uncomfortable.

There is something over the top and inauthentic with all that boorish vulgarity and gratuitous violence, and most of all with the directorial post-modern 'reflections' (though his final verdict 'Let them die stupid' is not that exaggerated, as Caragiale himself has said he hated his characters). It's like seeing the world only through dark lenses.


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