Opens a series that promises to be quite consistent from now on and the future heroes of which will be, among others, Liviu Chulei, Sergio Nicolaescu, Valeriu Rapeanu, Tit Popovici, Playback of “Reviewer”. Lucian Pintilier in Security Affairs (Publishing house Mega, Cluj-Napoca, 2022) is, despite its failings, some inherent, others easily avoided or corrected, what is called a book of events.

Its signatory, Romina Sojka, a historian by profession, did not reproduce, as the title of the book might suggest, only the editing and banning file of the film. Reconstruction or a show Inspector since 1972, L.S. Bulandra, and the still open wounds of Romanian culture, and the tragic stories we know about almost all. This is the truth of the matter reviewer the story seems doomed to remain unfinished due to the lack of evidence from one of the main characters, the director Liviu Tzulei, a former director of the theater Bulandra. The great director preferred, for reasons known only to him, to take the secrets known only to him to the grave. Romina Soyka’s research rather reproduces what I would call the life path of its main creator, director Lucian Pintilier. A path, a significant part of which is reproduced by people themselves SECURITY. Officers or partners who have it follow, with a watchful eye, but what am I saying? repeatedly looked at the great artist from October 1951 to September 1989.

Or so we are led to believe by the 353 documents grouped into 8 volumes with a total of 646 files identified and transcribed by Romina Soika. 35 informants and 24 officers carefully engaged in the creation, but mainly the life of the great director and the result labor they were found by Romina Soyka in the funds Documentary, Informational, Network, Passport and CIE from the Archives of the National Council for the Study of Security Archives.

Now, if we take into account the fact that, according to what has been said, SIE has not handed over his entire archive to CNSAS, which is from 1972 onwards, that is, from the time when he was virtually banned from working in theaters in the country , which allowed him only to direct, but not to show the film to the public Why are the bells ringing, Mythical?Pintilier lived and worked abroad more, having a not very comfortable stay there as well (if only the notes from magazine Monica Lovinescu), there is a suspicion that many other documents still remain unknown.

From a certain point in a recently published book Mega mainly we find a correspondence between Lucian Pintilius and the so-called responsible forums (from the party hierarchy or from those who were responsible for the supervision and management of culture and art, or from among the multi-star graduates of UDB and cultural workers. The correspondence is forced by the fact that Lucian Pintilier could not obtain and continue the right to work abroad. And because the artist never thought of settling permanently in the West, giving up his status as a Romanian artist or asking for political asylum. Just as the higher party hierarchy never had the sense to take advantage of this situation for their own image. As in the case of Liviu Culei, Nicolae Ceausescu did not meet, even in the good times when he was still received with luxury and pomp in Paris, Washington and London, to see these representatives of brands of Romanian culture working abroad, as suggested in a well-known editorial (Gesture and politics), speaks from the microphone Free Europe, the great journalist Noel Bernard.

The son of a man who was considered by the communist regime with problems (the father of the future director, Professor Victor Pintilier, who appears in the documents of the security service as a former member of the Legionary movement), Lucian Pintilier attracted the attention of blue-eyed people from an early age. They drew up a bunch of action plans, tried to make him an informer (Pintillier also signed a bond, never with concrete consequences, he also received the conspiratorial name Emile), then they closely followed him when he worked at the Theater named after Armyand during the years he worked for Romanian Television and after he became, with the help of Ciule, the director Bulandraand in the weather reconstructionand in this a reviewer, and long after that. As the so-called scandal of the auditor inflicted deep wounds Great art theater of the country (as everyone believed) the institution itself remained the only one objective permanent for safety, umbrellas Chuley and Pintilier felt themselves until the end of 1989. Hence the crowd of informants, quite recruited from the theater, who painstakingly wrote about the institution, about Pintilier and Chuley and about the artists (Toma Karaghiu, Mariana Miguts, Victor Rebendziuk, Iryna Petrescu, Ion Besoyu, etc.), who never gave up on them, and about their personal lives. Pintilier did not prove to be a comfortable artist from the very beginning of his career, he was never open to compromises and deals with either the party, censorship, or Security. He was also a rebel, but above all he was what he was called free man. However, it is this freedom that we created and took for ourselves that hindered the regime, and the book published thanks to the laudable efforts of Romina Sojka is mainly about this. Read the full article and comment on Contributors.ro