Product Details

• Amazon Sales Rank: #54765 in DVD
• Released on: 1999-05-11
• Rating: NR (Not Rated)
• Aspect ratio: 1.66:1
• Formats: Black & White, Color, DVD, Letterboxed, Subtitled, NTSC
• Original language: English
• Subtitled in: English
• Number of discs: 1
• Running time: 176 minutes

Amazon.com
The Greek director Theo Angelopoulos, winner of the top prize at the 1998 Cannes Film Festival for Eternity and a Day, will never build an audience of casual filmgoers. But then he doesn't mean to. Demanding, difficult, portentous, Angelopoulos makes films in his own deliberate style: sometimes awe-inspiring, sometimes mystifying. When he's at his best, as in the beautiful and devastating Landscape in the Mist, the results can be spellbinding. Ulysses' Gaze is a typically fascinating, typically long (three hours) work. Harvey Keitel, moving through the film at an intense murmur, plays a Greek filmmaker known only as "A." After many years in America, he returns home for an odyssey in search of some early film footage shot in the Balkans, a quest that leads him through that war-torn area and finally into the bombed-out city of Sarajevo. Angelopoulos establishes such a dreamlike rhythm, and his images (like a giant stone head of Lenin, floating down a river) are so striking, that adventurous filmgoers should find this experience absorbing, if enigmatic. On the other hand, Roger Ebert described Ulysses' Gaze as "a numbing bore." But even he would probably admit that no one else on earth makes movies quite like Theo Angelopoulos. --Robert Horton

Customer Reviews

patience, patience...
...and you'll be rewarded. Several of the reviewers below expressed problems with the pacing of this film -- one even went so far as to charge that Angelopoulos has created a 'pale imitation' of a Tarkovsky film with his long shots &c. While I could definitely see some parallels with Tarkovsky's work (the aforementioned long shots; the interplay between past & present, dream & reality; the non-linear progression of the story), I would hardly denigrate the director's efforts as a 'pale imitation'. I won't doubt for a moment that Angelopoulos admires and has been inspired by Tarkovsky's work -- but this is a director with his own vision, not one he has derived from the creativity of another artist.

The cinematography is breathtakingly stunning throughout -- and the long shots with which some viewers evidently find fault are in my opinion perfectly in tune with the flow and rhythm of the film. Too many people get used to the choppy, hurry-up-and-get-to-the-point techniques of Hollywood -- when something deeper, with more of an artistic foundation comes along, they have trouble relating to it. There are subtleties at work here -- masterful brushstrokes on film -- that must be taken in with an open, attentive mind. The small and the large combine into the cohesive whole that is this film -- sit back and let them do their work, don't try to guess where the film is going next or wonder how it's going to arrive there.

Keitel offers up a marvelously natural performance -- a review I read nailed it in part when it mentioned that Keitel doesn't so much 'deliver' his lines as become a vehicle for them. I got the feeling throughout the film that he was drawing his performance from a place very deep within himself, giving himself to it completely, allowing Angelopoulos' vision to animate his work. As a result, he is completely believable in his role as the exiled Greek filmmaker simply identified in the credits as 'A'.

Eleni Karaindrou's soundtrack (and the work of the great violist Kim Kashkashian in particular) complements the film perfectly. She has worked with Angelopoulos in the past, and continues to do so -- her music stands well on its own merit.

Not having seen this on the theatrical screen, I can't speak to the quality of the transfer -- and I must admit to having been disappointed by Fox-Lorber DVDs in the past -- but I thought the colour-drained look of many scenes in the film was perfect. Angelopoulos has stated that he 'feels' a film with all of his senses -- that translates into the exprience of viewing it as well...at least for me.

Highly recommended.

A Masterpiece
"A numbing bore?" If Roger Ebert really said that of this film, something is terribly wrong with Roger Ebert as of late. I beleive he has given his thumbs up to movies like "The Sum of All fears" and "Sam I Am" (this last one literally being nothing more than a Starbucks commercial shot like a shampoo commercial).
Ulysses' Gaze is a wonderful film that like any great work of art can be interpreted in any number of ways, depending on the viewer.
The pace of the film is certainly slow, but not in the boring sense but in the character and context building one. In other words, the director is in no hurry to finish the film at the expense of any of the subtlety and humanity necessary to paint his canvass. And in order to drive certain themes home, which, unfortunately, are universal, he creates scenes and shoots images that are so charged with emotion and symbolism that anyone who has ever lived in a country with similar situations as those in the Balkans can readily identify with them.
This is a powerful film and its subtlety is worth emphasizing. He really manages to capture the essence of specific situations without ever being at all explicit.
(For those of you interested in photography as well, it is interesting to note that one of the most beautiful scenes in this movie, that of the barge carrying a statue of Lenin down a river, was also used by Josef Koudelka for a picture that appears in his "Chaos" book. [ I do have to admit, however, that in my personal belief the scene is a little too long...The one scene of the movie that I personally would have cut a little shorter.]It would be interesting to know if they both, the director and photographer, simply coincided in wanting to incorporate the dismantling of this one particular statue -of communist Europe- of Lenin into their work, or if they had previously arranged to both be there...At any rate, the resulting photograph by Koudelka is in my opinion, one of the most beautiful photographs ever.)

The story that never ends.
Up until 1995, all of Angelopoulos' films had for their subjects Greece, Greek history, and Greek myths. He continues somewhat with Ulysses' Gaze, but this time the filmmaker travels beyond the Greek borders into the neighboring Balkan countries. Except for the scenes taking place in Sarajevo, all the other scenes were filmed on location, in Albania, the Republic of Skopje, Bulgaria, Rumania, and Serbia. One must remember that at the time of the production (1994), the Balkan region was not exactly the safest place in the world. This enterprise represented some danger for Angelopoulos and his crew, and it would have been easier for the film to be shot in the safety of a studio, outside the areas of unrest. But Angelopoulos was not trained in the method of the Actor's Studio. More importantly, he believes that shooting in the actual locations of his stories enhances his sense of actually participating in the film itself, and therefore produces better outcomes. He therefore felt he had no choice but to chance it. For the Sarajevo episode, Angelopoulos was not able to get the necessary permission from the UN, so the Bosnian scenes were shot around Mostar, Vukovar, and in the Krijena region.

In Ulysses' Gaze, history is present, but contrary to his other film, The Travelling Players, where it was the theme, and the group of players rather than any individual character was the "star" of the film, in the present film, history is now relegated to the background, and since "A's" odyssey through the region is the main story, we see a more conventional character in the personage represented by Harvey Keitel (he is not named in the film, but he is known as "A" in the script), and also in the different characters who cross his path. However, the dialogues are often stylized, and this gives the actors, especially Keitel, a somewhat "mechanical" delivery, with the exception of Keitel's last monologue. This is in keeping with Angelopoulos' intent to occasionally distance his viewers from their emotional responses, forcing them to study and explore the identities of the characters. , The Romanian actress, Maia Morgenstern, plays the parts of the four women. These women can easily be identified with the women Homer's Ulysses came across during his voyage. They also represent all the women whom "A" had loved and lost in past. Gian Maria Volonté; who had been offered the role of Ivo Levy, died of a heart attack in Florina during the shooting of the film, and was replaced by Erland Josephson. Josephson is of course one of the main Bergman's actors, and his performance in his film is, as always, up to snuff. Angelopoulos actually dedicated Ulysses' Gaze to Gian Maria Volonté.

Giorgos Arvanitis, Angelopoulos's long time collaborator, is responsible for the stunning cinematography. Many of the scenes are long shots that are also long takes, lasting several minutes, Angelopoulos' undeniable signature. On several occasions, during some long takes, there is a shift in time, emphasizing history's continuity. The film's first scene, on the quay of Salonika, is particularly remarkable in its lyrical construction.

The music is by Greek composer Eleni Karaindrou. Her compositions for the cinema transcend the soundtrack's conventions. Her music does not merely accompany the story, it is an essential element of it. The score is a counterpoint to the cinematic action, and establishes an emotional climate, combining with the image to express what cannot be said in words.

Angelopoulos wrote the script with the collaboration of Tonino Guerra.

As the title of the film announces, Angelopoulos is taking us on a journey through the tumultuous Balkan region and on a time-travel through its 20th century history. It is, after all, where "the Great War" (that is, "great" in the sense of "awful") started, in Sarajevo, where the film ends eighty years later, among more massacres and mayhem. Angelopoulos considers himself a historian of 20th century Greece, who likes to bring lessons of the Hellenic myths into his discussions. I would like to emphasize that it is useless, and even detrimental to the enjoyment of Ulysses' Gaze, to try to see in this film the retelling of Homer's Odyssey in a contemporary context. Angelopoulos does not try to recount the Odyssey. Rather, the Odyssey is merely a reference point, and the missing films become the journey's Ithacan destination.

On one level, Ulysses' Gaze is a search for the roots of the cinema of the Balkans, and more generally, of the cinema itself. Ulysses' Gaze considers the importance of film in recording history, and its potential in influencing its future development. Angelopoulos also suggests early in the film, through the events taking place in Florina, that film, not the Hollywood-type schlock, but thought-provoking film such as his can influence people's lives.

The second theme is of course, the odyssey of "A" through the Balkans, and as Ulysses was, "A" must also be clever to overcome all the journey's obstacles in order to reach his goal, the lost film reels. But this journey is actually the individual nostalgic journey of a man in search of his past, his loves, and his losses. "A," a Greek-American, left his native country thirty years before. It is said that of all the immigrants who come to the United States, the ones who long the most for their native country are the Greeks. Many eventually return home, and "A" is just one more of them

Finally, the film is also a Balkans history lesson. The voyage goes on its long and weary itinerary over this hostile region, and as it proceeds, we learn about past but also about present events, which tore, and are still tearing, this area apart. Although Angelopoulos' political stand is well known, the film stays clear of any political moral regarding the Bosnian war. Angelopoulos cannot help but be pessimistic in that respect: "plus ça change et plus c'est la meme chose" is his only conclusion. In Homer's epic poem, Ulysses returns to Ithaca, kills all the suitors, and most likely, lives "happily ever after" with his Penelope. But in Ulysses' Gaze, Angelopoulos knows his history well: the real Balkans are not, nor have they ever been, a heaven of peace. So, the war goes on, and "A," although having attained his Ithaca, is still trapped in Sarajevo, with all of his friends dead. For "A," the odyssey continues, as he recites Homer's optimistic lines, which are aimed at the future, "When I return...." What has meaning to Angelopoulos is not so much the goal of the journey, but the journey itself: "The story that never ends."

Angelopoulos' films tend to be monumental and slow, with striking images and a dreamlike rhythm. His films require audience participation through the viewer's memories, thoughts, and feelings. In these respects, Ulysses' Gaze is undeniably an Angelopoulos film, and certainly one of his masterpieces. Notwithstanding most American reviewers, such as Roger Ebert who described Ulysses' Gaze as "a numbing bore," I highly recommend this film, although I understand that I probably will be cursed by many who, brainwashed by Hollywood directors, will have followed my advice and be rather disappointed by the experience. Ulysses' Gaze won the Grand Prix du Jury at the Cannes Film Festival and the FIPRESCI Prize, 1995.