Thecamera tranks forward, zooms to them while Levy is talking aboutdangerof A journey. Thescene is cut and they arrive Levy’s place and a new figure appears,the daughterof Levy,Moi (MaiaMorgenstern ).She looking for her father to go back home before the sirens blow.While A and her dialogue is continuing,she say ” Your face seems like familiar. ” , with that speechAngelopouslos underline the reason why almost every female characterplayed by same star due to the fact that women are reminiscent ofsomeone he lost a long time ago.
Then,A get out from a hole under the street, the camera pans left with Aand suddenlyanexplosion is heaard, thecamera cranes up, showing otomobiles, houses, everything is on fire.The sequence follows one of the dramaticframe, themaster shot of mentallyill people come out in the street. The camera tracks forward, theylook at the dead peoplein the street and walk around unaware of anything.
There is nobodyexceptinsane people surroundedby disaster.Agoes back and Levy gives the good new that hefinally hasdiscovered the formula to develop the three film reels.Forthe fist, A is seem happy, he eventually reach his aim after a verylong and diffucult journey. ” Inthat city, fog is the best friend of man because it is the only timethe city gets back the normal almostlike it used to be,thespiders have to lead of ..
., foggy days are the feastdays.”The stunnigspeech reflect hopelessnessofthe people in Sarajevo. Hearingfootstepsand the music of the youth orchestra signal the welcome relief of thefog that descends on Sarajevo, shielding its citizens from theomnipresent threat of snipers. Theochestramade up by Serbians, Croatians and Muslims performs Eleni Karaindrou,displayes that all people shall be unity to bring peace in theircountry Thenext scene opens in foggy andgloomy atmosphere with powerful soundtrack. The camera cranes up,showing the orchestra of children.
The frame is symbol of people’shope for the future.Thefilm ends with the scene in which Levy’s family are killed bysnipers in “foggy day”. Coldand warm colours are used interchangeably in the scenes in Sarajevo,until the reality of death destroys all colours in the mist. Areaches to the purpose of journeybut he witness the pain, sorrow, somberness,political and social decline of the 20thcentury Balkans. Asa conclusion, Angelepouslos’Ulysses’ Gazeunable us to accompany the director A’s journey for searching threereel film of Manakis brothers.With that journey, Angelepouslos intendto externalize the consequences of the war, painand sorrow of the people in 20th century the Balkans byusing long takes and long shots.
Herefrains from close-upsto exact moments and scenes that distinctly express the inner feelingof the charactersand the hidden emotions, instead thecamera is always setsat deep focus, with almost parallel focalisations, replacing thusmultiple shots with multiple perspectives, tryingto reflect it deeper byaidof intense score of Eleni Karaindrou.Also using dark colors, low-key lighting reflectswoeful and gloomy atmosphere of film. Angelopoulos’Ulysses’Gazedealswith many issues, such as: borders between countries and immigration;the societal deconstruction of and adverse effect on Greek villagespost World War II and Civil War; and political instability in theBalkan region. Thefilm alsoexploresthe dismal living condition of ordinary people under theconsequences of the war. Thefilm give an opportunity to ‘gaze’and make a journey between present and past with A’s memories andManakis Brothers’ reel films.
Angelopouslos’Ulysses’ Gaze is a masterpiece, combinesthe filmmaker’s intimate and personal universe with the historicaland generational aspects that have shaken the Balkans since the early20th century, when the area ceased to be part of the Ottoman Empireto become an object of greed and centre of conflicts that break outtime and again in the hands of the European powers.