I see businessmen, a wonderful film directed by Paul Negoescu after his well-deserved triumph at the Gopo Gala. I know it’s no small thing when one film wins at least six awards at the same time. That is, the award for the best film, the award for the best direction, for the best male role in the main role (Yulian Postelniku), for the best male role in the second plan (Vasyl Muraru), the award for the best script (Oana Tudor, Radu Romaniuk), the award for the best editing (Yugen Kelemen). I would also give her a make-up award (Bistra Ketchijeva).

I also know that I am currently writing about a multi-award winning film and I am writing fine it can easily be called a mimetic gesture or labeled conformism. Something similar after the war many military shows. Or extra applause, please.

I researched the press file of the production and found that the film was written about both the bad and the good. And essentially, but also in order to once again illustrate the saying with the Romanians. Because what else can be an alleged chronicle published in another prestigious magazine, a chronicle whose author denies the observations of the consor, who in his analysis called the film black comedy. As the producers describe it differently, as well as the director, who in an interview published about three weeks ago in cultural observatory, it clearly states that a small amount of sugar makes any medicine more digestible. Perhaps this explains the poster image, in which Angel Damian, a young policeman, holds a gun, and Julian Postelnik, a policeman who is unlucky in love and in life, Ilie, shows that he would like to destroy criminals with a chicken. And he blames Paul Negoescu for defining his film black comedy and not a drama and not a tragedy (although in Businessmen many people die and others are crippled for life) is like demanding an account from Chekhov for what he called Cherry orchard comedy. And yes, there is something Chekhovian about it Businessmen and not only because Ilye, a policeman and sad, and tired, and an alcoholic, and as if threatened by diseases, wants, like Lopakhin, an orchard or only because the population of Botoshan commune, where the action takes place, is periodically isolated from the world due to floods. Almost the same thing that happens with the heroes Uncle Vanya who, also because of the weather, see each other again in the spring. Policeman Ilye drinks and confesses to his brother Kornel (Vitaly Bichir) in much the same way as Chekhov’s heroes or heroes of Soviet films. Those with Unfinished piece for mechanical piano, especially men, for example, cry and do not care that they may look funny. Ilye barely holds back tears as he repeats his life failures in front of a mug of beer and his brother, who has come from the city.

As in Romanian literature of the end of the 19th century or the beginning of the next, prominent figures of the Botoşani commune, where the action takes place Businessmen they are like brothers. The mayor (he’s great, he’s amazing as Vasyl Muraru) is the best man, he’s an absolute leader working people. Although there are moments, very well, with a great sense of proportion, played by Vasile Muraru, in which the look betrays him. The appearance of a thug, which contradicts the displayed decency praised by the policeman Ilye and the prosecutor, played by Radu Gilas. Paul Negoescu had great courage and great intuition to choose Vasile Muraru for the role of mayor. Which turns out to be an active golden vein, still ignored and unexplored. It should not be understood that I minimize the complexity of the magazine. But the surprise is big. A priest (Daniel Busuioc) stands around the mayor. It is a mixture of a security guard and an ideologue. About corruption, about cigarette smuggling, about intimidation, destruction, about a crippled young agent (Vali or, please, as in the catalog Sandu Valentin, played wonderfully by Angel Damian), about the forced expulsion from the village of the widow Christina (a very good Crina Semciuc). Ilie (Julian Postelnik is very well chosen, I would even say that he is the perfect interpreter of the character, first of all with his appearance, but also with the way he plays the essential sadness of the character, and I thought he was a very good actor not only here) familiar from the mayor’s house, his wife always sits at the table, he takes her chocolate smiles for granted. Or he wants to take them for granted. Annemarie Chertik plays what I would call corruption with pistachios, a pistachio can always become a portion of sarmalutes with polenta or the much desired orchard. Policeman Ilye perceives parental observations, facial politeness, valuable guidance mayor and priest, related to how he understands himself challenge- young Vali. He takes the stand when he is told that a young colleague is stirring things up by investigating a murder. Ilie also accepts donations consisting of orchard ditamai, manages the circulation of citizens who claim to fish, although they also smuggle cigarettes. As a mayor and a priest. Only the teacher is missing from the cast. It seems not businessman in the meaning given to this phrase by the dark and bloody events detailed in the film.

Things, atmosphere Businessmen somewhat reminiscent of life A place where nothing happened. However, there is a lot going on in Sadovianu’s works and in Paul Negoescu’s film. The script (Oana Tudor and Radu Romaniuk), the editing (Eugen Kelemen), the soundtrack (Marius Leftarahe) and, of course, the image (Ana Dragichi) and the direction are true ideas history. History with its nodes and catalysts, as the narratologists of the 70s and 80s of the last century said with great respect, is obviously being restored. I don’t know for sure. The final part is exceptional. With her firmness, with her refusal to save Ili from death. Read the entire article and comment on contributors.ro