Originally, this work was a thesis which was entitled License: Act artistic and historical reality in Sergiu Nicolaescu's filmography, held on 3 July 2010 in front of the evaluation of candidates for the title of Bachelor of the Faculty of History, University of Bucharest . Thank you, in this way, scientific coordinator of the thesis, Professor Ion Bucur, and those teachers who, disinterested, I was advised during its development.
The novelty of this text lies in the fact that, unlike the original version, in it there are also observations of Mr. Sergiu Nicolaescu, after he has read, corrected and completed the first version.
Although I was forced to make use of specific instruments -, filmography, bibliography, stories, critical apparatus - personally consider this work a dual character: one manifest and equally scientific one.
We are ordinary people - as we say a well-known Romanian historian of our time - take it lightly, he was forgetting to remember about a special category of Romanian, which has their own fanaticism and singled in relation to mass popular.
In turn, an equally famous mânuitor the pen, Romanian - playwright this time - we say that here, in Romanian, living matter most, becomes like a game, and whoever breaks this game should be removed in extremis, eliminated.
Moving the focus from collective discussion, individually, about Sergiu Nicolaescu can say that is one of the few Romanian who lived ignored this rule, taking the work seriously, according to that law, its own self, embodied in the phrase: to the end.
This he felt, first, ordinary audience, among intellectuals - and even of colleagues - and their opponents with Sergiu Nicolaescu.
Filmmaker and said in several circumstances, he made movies for the audience, which he considers the chief judge.
This book comes to strengthen the above statement, I just selecting from among the spectators me his.
Asked during a program broadcast on channel 1 of the Romanian Television, dedicated to celebrating 65 years of life, which has regrets?, Cinema illustrious man replies: "I'm sorry that so far has not come to me no a graduate of the institute, with a desire to know his future profession, which require me to do a movie together. "
This response was fully confirm the assertion playwright Paul Everac of his moral-political essay - Reactionary - where he can prove with irrefutable examples of how our country is very good beginning of school, people belonging to both enthusiasts trained workers , brave, but, unfortunately, are not carried out successfully. The same can talk about who is the subject of this dissertation.
Romanian filmmaker successfully complete their career - the number and types varied his films bear witness, as the number of spectators - but, now, Romanian cinema, a complex of reasons, failed to give a director to even over his personal style, if not practical at the school tried to impose national cinema.
Self, when you need to be placed in the gallery universal philosophers, man of spirit Emil Cioran used to say: "I am where Cioran".
And about Sergiu Nicolaescu can say that cinema is a particular case, statute largely revealed the presence and international recognition.
In an internal ranking Romanian filmmakers, honorary first place is occupied by Grigore Brezeanu and Jean Georgescu. They are, in the category filmmakers total for the period film sound, Sergiu Nicolaescu. Director Constantin Vaeni of the few films he displayed qualities of total filmmaker, evolving as an actor, athlete and stuntman in his film The Wall (1974). Anthology film remains Impossible Love (1984), shielding by Marin Preda's novel, intruder, which signed the script and directed. The film records his last appearance on the big screen for the first time the great man of theater and film, Amza Pellea.
Concept that defines total filmmaker filmmaker fully involved in his films, in addition to directing, he rendering and other activities that contribute to the achievement of the film. In the film world this kind of authors precursors were silent movie period, filmmakers Douglas Fairbanks and Charlie Chaplin senior, and to meet again a period film sound American filmmaker of Puerto Rican origin, José Ferrer, and it proved the most skills through the development of film Cyrano de Bergerac (1950) and Moulin Rouge (1952).
Assessing performance and possibilities, especially film, Sergiu Nicolaescu can be considered the least of their.
His appearance in the film had a double effect, namely achieving quantum leap, but especially the quality, example of mobilizing it through contagion and other people involved in film production. Together, they formed a true cinematic citadel - Buftea - many of those employed in this field have no specialized training required, but through a carefully directed labor, left behind an outstanding artistic dowry. This would include not only actors but also those members of the crew do not appear in the foreground.
Qualitative leap was talking about - the result is the definition of competitive status worthy of attention - entailed collaboration application from Western cinema.
It may seem strange, but Sergiu Nicolaescu had an international career first and then a local (such performance was difficult to conceive in those years).
Film distribution filmmaker externally - the first was to be made since the first participation of a film or an international festival, the Cannes in 1964 - and reveals the pecuniary aspect of its work done for the state, earn money thus being reinvested in the most part, throughout the film.
Without question, we have assessed the political aspect of the problem, Romania being in a time when even need a national cinema, the film is a tool with multiple destinations (Lenin's thesis here is over for him cinema is more than a means of ideological influence, passing the background art). But in the case of Romania, in addition to political reasons, the matter behaves and sentimental reasons.
Interest in film was shown at the top of the Party and the actress velleities because it was the eldest daughter of one of its former leaders - Lica Gheorghiu, not ominous interest. Retail should be noted that Sergiu Nicolaescu personally knew him Gheorghe Gheorghiu-Dej in two circumstances in different times of life: the first at age 15 (1945), in a train compartment, and the last 34 years ( 1964), came to the studio when Dej Sahia accompanied by Ion Gheorghe Maurer. His visit was intended to distribute Lica in his first feature film.
These circumstances helped, along with stories that we knew from his uncle, Gheorghe Cambrea Police Commissioner, to make a complex image, drawing a portrait of former communist leader close to the sensitive film character reference . We meet in the film appeared on screens in 1994 - Beginning of Truth. Mirror
Another sentimental reason can be considered discrete connection of Gheorghe Gheorghiu-Dej and actress Dina Cocea. Summit of beauty and artistic life in Bucharest, distinguished person - her talent was challenged by people on the scene, although it is prepared to Paris - it was to know the peaks political media world attended the shows. Daughter of N.D. Cocea, journalist left, whose family has expressed concern for future careful daughters, was taught to be placed next to those who exercised temporal power act (in addition to the privacy of Dej, she knew, from how it worked the German Ambassador in Bucharest, and that of Baron Manfred von Killinger). A history of theater and film in those years can not be written without his contribution, especially since he met closely Lica Gheorghiu. In a television interview last, Dina Cocea insists that the official feared daughter, despite velleities shown, they knew the possibilities and limits. She was not conceited and arrogant far, how wrong they said, thus ignoring known actress that phrase widely, concocted for public amusement: Dina Cocea was talented and Lica Gheorghiu was hard in father.
During both the top party and state has been Nicolae Ceausescu, the interest of political leadership for the film, especially its general secretary, and later became president of the republic, remained constant, Ceausescu with not less than three meetings with filmmakers , a sign that the film enjoys a special attention from him.
Answering a question / inquiry, made in known expert review - Cinema - Sergiu Nicolaescu was to say: "For our national cinema, waiting for a conference Filmmakers Association is a boost to a concentration of all the creative forces to achieve quantum leap , we expect that long ago and whose first stated ". It is a filmmaker of indirect initiatives, resulting in the Second National Conference Creators of Film, in April 1974 which was attended by Nicolae Ceausescu (the first initiative belongs to the filmmaker following Ion Gheorghe Maurer suggestion that it has Nicolae Ceausescu invited to his first meeting with film people, one in 1971).
For a correct assessment of Romanian cinema phenomenon results should be taken into account the contribution of people with minor output in art, but held positions in institutions that diriguiau cinema. For example, Dinu Negreanu, member of the Board Cinema, professor and dean of the Institute of Theatre and Cinema, has made efforts to return to work and presence in artistic life over the file incompatibilities, some valuable items in the past manifestaseră political trends right or extreme right (and Ion Alexandru I. Cantacuzino Paleologu, son of the great bacteriologist). Dinu Negreanu was convinced that even "leftist demagogy is harmful objects" and not shy to share this student.
Coming to expose this point, it should be confessed that, until 1946, cinema in our country enjoys a relatively easy system to address issues, constituting the only obstacles to, rather, lack of funds or disagreements between authors and less congestion imposed by political power. End of an era, 1946 is the debut of another, the Soviets impose our first movie in cinema - Tudor Vladimirescu Division (accidentally or not, one of the protagonists of this film is another filmmaker's uncle, General Nicolae Cambrea).
After a short period of uncertainty, is the other time, the "ideological film production is strictly controlled and carefully" - as Professor Lucian Boia states - to Decree 303 of 2 November 1948, the "nationalization of the film industry and trade regulation film products. " The record, however, a substantial gain. In 1949, the government initiative, decided to build a center to Buftea film, whose foundation stone is laid by the Prime Minister into operation, Dr. Petru Groza in 1950. Until the completion of the works projected film studio, constructed complex Floreasca taken in 1956 by TVR, and are set Tomis complex (320 m). In addition, there IS Tehnocin, in 1959 merged with IOR, which occur projection equipment and a range of products for the film.
These are some summary data on Romanian cinema before and the time when the character that is the subject of this dissertation, in contact with the institution, where they will become a singular figure.
We can say therefore that, as writing is the instrument by which history is kept on the support of paper, as well as on film, can be said is that instrument through which collective memory is kept with the film (in Romania initiative was not the exclusive, but must be recognized that, thanks to Sergiu Nicolaescu, almost all the important moments of national history can be found in Romanian films).