I don’t know how many children today still know directly from the source, that is, from the book, Jon Creange’s famous work about the tragedy of the goat, the kid goats that were eaten by the wolf, and what happened immediately after. I don’t think this story exists in a version available from mini-laptops that even small children barely 2 years old have at their disposal.

I have no idea (admittedly lacking in information in this section) how often Jon Kreange’s work is republished, other than Childhood memories. However, I found out that censored publications Goats with three kidsfrom which he would have been absent, would have been presciently removed, the terrible scene in which the gentle Gumulesthean tells in the most horror possibly killing a wolf. Who, having dealt with imprudent goats, sprinkles the walls of the goat shed with blood, and puts the heads of his victims in the windows. It seems that she expressed her correct political thinking here as well, embodied by the concern not to affect sensitive readers too emotionally. If you don’t scandalize or offend the wolves.

I don’t even know if Kreange’s stories are still taught in school. In high school, teaching the history of Romanian literature, I know very well that this is the case cabbage (sorry for the expression!), this is under the pretext of not testing the memory of young students too much, which, as they say, is already overworked, and from the editorial in no. 36/2022 from Literary Romanians (cf. Nicolae Manolescu – “The Finished Craft of Vanity”) I realized that due to the desire to form communication skillsguides to Romania fifth graders compete with a mini-treatise on narratology.

However, director Viktor Kanash and producer Luana Giorgitse took the risk of making a feature film inspired by Kreange’s works. It was probably stimulated by the success of a short film on the same topic, also shot by them two or three years ago. Screenwriter and director Viktor Kanash emphasized valence thriller carefully, intelligently and without excessive exaggeration selected from the literary work. And in terms of the economy of the film, the sequence in which the Wolf, transformed into Nanash, kills the careless goats to get revenge on the Goat for rejecting his advances and marriage proposal, seems to me exemplary. With clearly adjusted tension, without unnecessary, too long delay of the camera on the details. The peak of pregnancy falls on the moments when the Wolf, that is, the Dwarf, whose interpretation fell to the actor Marius Bodoch, is also looking for a third baby.

If the first two children well played by the children Rezvan Ilina and Silvia Korbu, apparently found among the inhabitants of the Malu-ku-Flori commune in Dambovitsa, where the filming took place, where a unique location was organized for filming, the little girl has an exceptional interpretation, also provided by a local child. His name is Antonio Gavrila. What Antonio Gavrila does there is worthy of a debut award. Antonio Gavrila plays as if he is an actor who studied at the Hitchcock school. Also a good sequence in which Capra (Maya Morgenstern) returns from work and sees the heads of two dead children in the windows from afar. The preparation of the revenge and its execution went well. The camera stops periodically, but only on the rocking chair and then on the pit where the Wolf is burning.

Neither Victor Kanache (in his triple capacity as screenwriter, director, and editor) nor Lulu de Gillerin (the author of the image) approved of the fashion that had become the norm. sine qua non of contemporary Romanian cinema, a fashion in which the camera lingers for a long time, thus sacrificing dynamism, action in favor of description. The cut is lively, fast, nervous. He manages to compensate to a large extent for a certain theatricality that is less noticeable in the game of Maya Morgenstern and somewhat more in the game of Marius Bodoch. Read the full article and comment on Contributors.ro