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Landscape in the Mist

4 out of 5 stars 1 customer review

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Product Details

  • Language: Greek
  • Subtitles: English
  • Number of discs: 1
  • Average Customer Review: 4.0 out of 5 stars 1 customer review
  • ASIN: B0009WIE7U
  • Amazon Bestsellers Rank: #104,734 in DVD (See Top 100 in DVD)
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Top Customer Reviews

Format: DVD
I seem to have the same reaction to each of Angelopoulos' films; flawed genius. But in each film,
what feels flawed and what feels masterful is different.

Mild spoilers ahead...

In this story of a 12 year old girl and her younger brother on a fruitless journey for their non- existent
father in Germany what works is the ultimate emotional impact of the piece (it left me in tears), and (as
always) the sheer poetic power of some of Angelopoulos' images.

On the other hand, a key supporting character (the youthful actor Oresteis) is thinly written and exists
basically as an overly-convenient plot point. Some of the dialogue and ideas feel heavy handed, and
some images are lifted from other director's films. And the references to his own earlier film 'The
Traveling Players' are an interesting, brave style choice, but also a bit distracting and intellectual.
The young girl's acting is mostly terrific, but the young boy feels fake at times, which doesn't help.

There are scenes I'll never forget. Maybe the most disturbing (yet completely hidden) rape scene I've
ever seen. But other scenes feel awkward or forced.

This is the kind of film that may grow on revisiting, and I certainly plan to see it again.

If possible, get your hands on the now out-of-print 'New Star' DVD. The transfer was overseen by
the director, and the quality blows away the New Yorker DVD.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x97244a68) out of 5 stars 14 reviews
44 of 45 people found the following review helpful
HASH(0x97511a68) out of 5 stars Landscape in the Mist--The DVD version. Dec 1 2005
By Bostonian Reader - Published on Amazon.com
Format: DVD
I have been waiting for years for this extraordinary, beautiful film to come out on DVD. The film itself easily rates five stars, or more. But, sadly, not this DVD. The old New Yorker video was woefully inadequate. Unfortunately, New Yorker seems to have done nothing more than transfer the video onto DVD. The ratios are clearly off and the picture quality is very poor. Even the subtitles are ugly. There are no extras worth mentioning (scene selection, if you want to count that.) This is a travesty against one of the greatest cinematic artists of our time. Criterion, are you listening???

Since there are no other available forms, by all means watch the DVD or the video. Just be aware that you are not seeing the work as it was intended by the artist, Theo Angelopoulos--alas, better a poor copy than nothing at all. But hopefully, when Artificial Eye in the UK finally gets around to bringing out their version, they will do more justice to the film.
45 of 53 people found the following review helpful
HASH(0x97819228) out of 5 stars This movie is easily the greatest movie I have ever seen. March 31 2000
By Alex Lykidis - Published on Amazon.com
Format: VHS Tape
It is hard to explain why I like this movie so much. I think the best way to describe it is that it speaks to my soul, more than any other movie. The film operates on many levels (see Robert Horton's excellent books on Angelopoulos to explore further) such as Greek mythology, modern Greek history, the issues of borders, innocence and growing up, male role models, etc. However, the real power of the movie, I feel, lies in its ability to transport you to a place where the hidden truths of life, those truths that lie under the surface of our every day existence, are openly displayed and heartbreakingly rendered on screen. I think many independent film fans, especially in the US look for films that are realistic. This film is not realistic in the traditional sense, but it arrives at the core of our existence in a poetic way, and in a way that many people mistake for pretentiousness, false symbolism, and unnecessary artiness. The movie speaks volumes to me, and I hope it does to you too.
15 of 17 people found the following review helpful
HASH(0x97408e70) out of 5 stars Landscape in the Mist - The other DVD version Nov. 14 2006
By Matthias Weber - Published on Amazon.com
Format: DVD
I agree with a previous reviewer that the transfer of the film on this DVD is an abomination.

The greek company NewStar is releasing (authorized by Angelopoulos) excellent transfers of

his films, including Landscape in the Mist, with english subtitles.
4 of 4 people found the following review helpful
By Cosmoetica - Published on Amazon.com
Format: DVD
There is a superlative scene in Theo Angelopoulos's 1988 film Landscape In The Mist (''''' '''' '''''' or Topio Stin Omichli) that is amongst the best filmic depictions of sexual abuse ever shown, and should be shown as a primer to Hollywood directors on how to be subtle and poetic, especially when dealing with such terminally PC topics. In it, the young ten or twelve year heroine of the film, Voula (Tania Palaiologou), who is on the run, in search of her nonexistent father (whom her never seen onscreen mother has told the children resides in Germany, even though she has no idea who their father/s is/are), with her five or six year old brother Alexandre (Michalis Zeke), has hitched a ride with a nameless truck driver (Vassilis Kolovos). After he tries to dump the kids off at a truck stop diner, but they follow him, he pulls over on the side of a road, as the boy sleeps. He tells her to get out of the truck, and then grabs her into the body of the truck, which is covered with a sheet, or tarp. Manifestly, he wants to sexually abuse her in some way. The camera never pans away from the back of the truck. We hear nothing, and after a minute or two, the young boy pops out of the truck cab and goes in search of his sister, calling her name. He runs out of frame, and a minute or two later the trucker gets out of the back of the truck. Now, the camera zooms in, slowly, to the truck, so that nothing but its back exists in the frame. Then, we see Voula slowly emerge from under the tarp. Her legs, then body. She looks shell-shocked, and her hands are bloodies. Whether this is from her hymen being broken, and feeling herself, or from an injury given to her by the trucker, or scratching him, we are not sure. The blood is not substantial, although likely too much for a broken hymen. Whether she was raped or merely fondled, we watch her face as she smears the blood on the side of the truck. This says far more than any graphic shot of the violence could, especially if quick cut in an MTV style. It also allows us to zoom in and feel her numbness and wonder at the blood.
Yet, this is merely one of many bravura shots in this great, great film, which opens with a shot at a train station, then hits the credits. Angelopoulos is a master of the picaresque, stringing together a brilliantly unobtrusive yet powerful narrative through a series of realistic, yet utterly poetic, moments. He also trusts his audience to watch and get the little moments of insight he slips in and never condescends to them. He leaves much in the film unexplained. But, we can fill in the blanks, and even if my answer is a bit different from yours, the overall arc coheres. This tack is brilliantly illustrated in yet another scene, where the kids encounter a twentysomething motorcyclist who drives the family bus for a troupe of entertainers, The Traveling Players (a group that is a direct nod to Fellini's La Strada and Variety Lights, and was the titular subject of his 1975 film of that name). The way Angelopoulos films the group of old would be Vaudevilleans as they rehearse on a beach for a performance is a direct nod to Fellini in his 8½.... This film has long been grouped with two other of Angelopoulos's films (Voyage To Cythera and Ulysses' Gaze) as a voyage trilogy, but it certainly stands alone, self-contained, as a great work of art. If the other two films are as powerful, Angelopoulos will have authored a trilogy that stands with the best that Bergman, Antonioni, Ozu, or Kieslowski have offered. Of course, detractors have claimed what they usually do about great films that depend upon a penetrating beyond the ordinary- that this and other films by Angelopoulos are slow and boring. But, given the depth this film covers, it is a film that could have gone on another hour and remained fascinating. Also, the film is filled with movement- emotional, material, or narrative, even if the frame stands still. Then, there is the mixture of the personal, political, mythic and sexual, so no critic worth their salt can claim the films are boring, unless they are simply wishing for Orestes to have crashed and burnt on his motorcycle.
Landscape In The Mist is a truly great film and work of art, loaded with little moments (a cock that struts into a train station and is caught before the camera pans to the sleeping children) and those grand (as mentioned). It strives for a sort of an implicate order even as it specifies its claims to two individual children, and it is in the fluid melding of such high aims in such an easily achieved manner that Angelopoulos's greatness in this film is achieved. It is one of those films where, even without thinking, the perfection of its image and message succeeds in moving the viewer. Sit still, be moved, and watch. Landscape In The Mist is that great.
5 of 5 people found the following review helpful
HASH(0x97408498) out of 5 stars The eloquent meaning of the silence or the mist of the language! Jan. 3 2007
By Hiram Gòmez Pardo Venezuela - Published on Amazon.com
Format: DVD
If God makes silence, the children must reinvent the world and return it its lost majesty!

Two fulminating and devastating images support the film: in the beginning of the picture the sister tells the story of the Creation to his brother for him to sleep and the other, in the end when the brother after making the awful journey tells the same story to her sister, whom in this case is frightened. The elder sister writes in the letter to his father this eloquent statement: "We don't know We are so tired that we don't know if we go forward or back, so we lose themselves..."

Let's talk the same Angelopoulos: "We live in a culture which has inherited these myths and it's necessary to destroy them, lessen them to the human dimension. It's an arrangement' s count with my natural heritage. I don't accept the fairy tales, the idea of the fate. I introduce the myth in the politic reality and that becomes history in a very different dimension. It's not an interpretation. I confer a dimension at the level of the man, due he is who makes the history, not the myth."

Silence of God, understood as the silence of the own origins. Voula and Alexandros, two brothers who desperately undertake a journey in search of an impossible and unattainable father, conceived as father, memory, origin and history.

Once more, we assist to the main concernments of this superb filmmaker, the return to historical references. Germany is then, a simple reference pattern, it's the trip what it really maters, with all the painful implications, risks and hazardous consequences this fact brings with it. Like exiled angels, they suffer in silence in an indifferent world that does not care the death of a horse in the middle of the night. And Orestes, the sole human being who really loves them, works out as the inspiring hero, who (casually ?) expresses the most pyramidal poetic moments of the movie.

The final sequence, (as a posthumous homage in Andrei Tarkovsky' s memory) when the midst vanishes is one of the most extraordinary dazzling moments in the whole history of the cinema. The countless poetic sequences are by themselves far enough to acquire this supreme masterpiece, but more important still; the way the director handles the filmic time transmuting into mythical time, with frozen human bodies when the snows falls, obligates us to rethink over and over the transcendental artistic importance of this giant film, that must be included among the best films ever made.

Extraordinary achievement. A must-have.

Because the poetry is timeless.