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B R U S S E L S 70 Ans De Cinema Grec 70Jaargrieksefilm 70 Years Of BRUSSELS ^4M/ £ ft. *\ 70 ans de cinema grec 70jaargrieksefilm 70 years of greek cinema BruxellesBrussel | Vendome | 14-28jan97 Gent | Studio Skoop | 16-22 jan 97 GREEK FILM CENTRE W Mons| Plaza Art | 22-27 jan 97 ^οΐ3 24 r ι BRUSSELS 70 Years of Greek Cinema 1926- 1996 ORGANISERS The Brussels International Film Festival The Greek Film Centre in collaboration with The Greek film archives The Hellenic Press Office in Brussels The Fonds Culturel Hellenique in Brussels Under the auspices of The Greek Minister of Culture Evangelos Venizelos The Members of the European Parliament Katerina Daskalakis Angela Kokkola Alekos Alavanos Panos Lambrias Yannis Theonas With the generous support of Christian Thomas Tinne Bral Coordinator Yannis Starakis Editorial Supervision Voula Georgakakou Translation ■ Corrections Elly Petrides Paola Roscam Jan Mot Art Director Vouvoula Skoura Exelmans Graphics Printed in Greece Vivliosynergatiki We would like to express our thanks to the Hellenic Foundation for Culture for its successful support to the promotion of the Greek cinema. Olympic Airways lor its generous contribution. and the Greek Tourism Organisation tor its valuable collaboration. 3614336 ι- \ mat ϋ«/ Μ BRUSSELS 1926 -1996 70 ans de cinema grec 70jaargrieksefilm 70 years of greek cinema GREEK FILM CENTRE AVANT - PROPOS INLEIDING Si I on excepte les noms d' Angelopoulos, Cacoyannis, Papatakis, Met uitzondering van Angelopoulos, Cacoyannis, Papatakis, Jules Jules Dassin, Koundouros et surtout Melina Mercouri, le cinema grec Dassin, Koundouros en vooral Melina Mercouri, is de Griekse film vrij raste largement meconnu au-dela de ses frontieres. Sa notoriete onbekend buiten de grenzen van het schiereiland. Zijn Internationale mternationale se limite generalement a de breves incursions dans les reputatie beperkt zich over het algemeen tot kortstondige excursies festivals europeens el a des vastes retrospectives comme celle du naar Europese festivals en tot retrospectieven, zoals deze van het Centre Pompidou en 1995 ou celle presentee ici-meme dans le cadre Centre Pompidou in 1995 of de huidige georganiseerd in het kader du festival de Bruxelles, van het Filmfestival van Brussel. Divertissement populaire par excellence ce cinoma qui fut, sur le plan Als volksvermaak bij uitstek kende de Griekse cinema na de Tweede national, des I'apres-guerre et pendant pres de trente ans. Γ objet Wereldoorlog een buitengewone en gedurende drie decennia α un engouement exceptionnel et ininterrompu, n'en a pas moins ononderbroken groei op nationaal vlak. In de jaren zeventig echter connu, depuis la fin des annees 70, le sort propre έ toutes les deelde Griekenland hetzelfde lot als alle kleinschalige cinematographies des petits pays de I' Europe (et pas seulement) filmproducerende landen en kende het een regelrechte crisis dont le doclin progressif, lie a une homorragie du public, offre les veroorzaakt door het succes van de televisie en het overwicht van 'raits communs d'un paysage de crise. Amerikaanse films. tournant du siecle, la Gr£ce est une nation modeste qui cherche Rond de eeuwwisseling is Griekenland een bescheiden mogendheid sa voie entre le lourd fardeau d' un pass£ illustre, antique et byzantin, die langzaam haar weg zoekt tussen de zware erfenis van het antieke Θι les vicissitudes de toutes sortes auxquelles elle est confrontoe en en Byzantijnse verleden en de wisselvalligheden waar ze als jonge, ant qu Etat nouvellement cree et encore fragile. Le cinema n'y fragiele staat mee geconfronteerd wordt. De ontwikkelingen in de connait pas un developpement aussi rapide que dans d'autres pays Griekse cinema verlopen bijgevolg minder vlot dan in de buurlanden. suropeens voisins. Les premieres projections ont lieu a Athenes des In 1897 vinden de eerste filmprojecties plaats in Athene, maar het zal 1897, mais ce n'est qu' en 1914 qu' est tourne le premier long nog duren tot 1914 alvorens de eerste lange speelfilm gedraaid metrage ropertorie: Golfo. du Smyrniote Costas Bahatoris, d'apres le wordt. Dat was TGolfoY van Kostas Bahatoris, een prent gebaseerd rame bucolique bien connu en Grece de Spyros Peressiadis. op het in Griekenland zeer bekende bucolische drama van Spyros outefois, entre ces deux dates, on ne peut ignorer Γ apport essentiel Peressiadis. Tussen beide data in mag echter de essentiele bijdrage ss freres Manakia qui, en reels pionniers, developperent avec une van de gebroeders Manakia niet vergeten worden. Deze pioniers mobile vertigineuse leur activite d' operateurs d' actualitos tout en draaien vanaf 1906 met een duizelingwekkende mobiliteit een reeks enregistrant, dos 1906, des scenes de la vie quotidienne un peu actualiteitsfilmpjes over het dagelijkse leven in de Balkan, Partout dans les Balkans: a Monastir (I'actuelle Bitola), a Thessaloniki, de bergdorpjes van Pinde, Joegoslavie en elders. In hessalonique, dans les village du mont Pinde, en Yougoslavie et 1910 richt de burleske komiek Spiros Dimitrakopoulos, beter bekend 1 eurs. En 1910, le comique burlesque Spiros Dimitrakopoulos.plus als Spyridion, de eerste productiemaatschappij op onder de naam connu sous le nom de Spyridion, fonde la premiere maison de Athina Films. In datzelfde jaar komt Joseph Hepp, een cameraman Production, Athina Films, et Γ operateur Pathe, Joseph Hepp, van Pathe, naar Griekenland en specialiseert er zich in mstalle en Grece, ou il se specialises dans les films d'actualites filmactualiteiten en in komische sketches, ge'inspireerd op het werk Puis dans les sketches burlesques, pastiches de Max Under, comme van Max Linder, zoals The Adventures of VilarY uit 1926. Les Ventures de Vilar (i Peripeties tou Vilar 1926). Door de politieke inslabiliteit van het land ­ vooral na het militaire n fait, a cause de I'instabilito politique du pays, surtout apres la debacle in Klein­Azie (1921­1922) ­ en door de precaire economische debacle militaire en Asie Mineure (1919-1922), et de la situation toestand staat de Griekse cinema op het einde van de jaren '30 in economique precaire, la production a du mal a demarrer; elle balbutie feite nog steeds in zyn kinderschoenen. De filmproductie komt slechts JUSqu ό la fin des annoes 30, se limitant a quelques comedies (la moeizaam van de grand en beperkt zich in die tijd tot een reeks sene des ..Vilar» et des «Michail»), a des melodrames roalises komedies (de serie van 'VilarY en 'MichailY), enkele melodramaYs, Wncipalement par Dimitris Gaziadis et produits par sa societe Dag voornamelijk gerealiseerd door Dimitris Gaziadis (TLove and WavesY i'm (Amours et vagues/Eros kai Kimata, 1927, Le Port des larmes/To uit 1927 en 'Harbour of TearsY uit 1929) en een aantal pastorale 'mam ton dakrion. 1929)­et aux idylles pastorales apposes idyllen, "fustanellaYs" geheten, zoals 'AsteroY (1929) van Dimitris " ustanella­ comme Astern, de Dimitris Gaziadis (1929). L'Amoureux Gaziadis en de eerste Griekse geluidsfilm.The Shepherdess and her 6 la ber9&e (O Agapitikos tis voskopoulas, 1932). de Dimitris Lover' (1932) van Dimitris Tsakiris. Twee films die zich in dit aanbod sakiris, premier film parlant tourno en Grece ou Maria Pentayotissa. onderscheiden, zijn 'Daphnis and Chloe, een afwtsselend onschuldig 5 d Achilleas Madras (1929), naive transposition a Γ ecran dune en gedurfd pastoraal drama van Orestis Laskos uit 1931, en TSocial heroine legendaire de Γ epoque du roi Othon. De toute cette periode, Decay', de eerste poging tot realistische film met een sociale les deux films qui se detachent sont Daphnis et Chloe (1931). drame boodschap van Stelios Tatassopoulos uit 1932. pastoral a la fois audacieux et candide, realise par Orestis Laskos, et Met de oprichting van de filmstudio 'Finos filmY door de geniale Corruption sociale (Kinoniki Sapila. 1932), de Stelios Tatassopoulos, vakman Filopimne Finos, vangen eindelijk de volwassen jaren van de premiere tentative d'un cinema realiste et socialement engage. Griekse cinema aan. Gedurende drie decennia zal deze Finos zijn Puis vient le temps de la maturation avec la creation d'un veritable stempel drukken op de Griekse filmproductie. Terwijl hij tijdens de studio de production, la Finos Film, oeuvre d'un artisan de genie, jaren '40 slechts een tiental films produceert, wordt het aantal tijdens Filopimene Finos, qui va dominer la production cinematographique het daaropvolgende decennium opgevoerd tot dertig producties en grecque pendant trois decennies. D' une dizaine de films produits overschrijdt uiteindelijk de kaap van honderd tijdens de jaren T60. dans les annees 40, il passe a une trentaine dans les annees 50 et a Finos weet een aantal geroutineerde regisseurs te engageren. die une centaine dans les annees 60. voornamelijk afkomstig zijn uit de theaterwereld, zoals Nikos Tsiforos, Des realisateurs chevronnes, issus principalement du theatre, comme Alekos Sakellarios en Dinos Dimopoulos, zonder Yorgos Tzavellas te Nikos Tsiforos, Alekos Sakellarios et Dinos Dimopoulos ­sans oublier vergeten, die door zijn meer eclectische ambities en artistieke keuzes Giorgos Tzavellas, qui constitue un cas a part par ses ambitions plus een aparte plaats inneemt. Deze vakmensen storten zich vol overgave eclectiques et ses choix plus artistiques­ abordent sans retenue le op de genrefilm en leveren een reeks sprankelende komedies en cinema de genre, lis signent les comedies les plus petillantes de ce succesvolle melodramaYs af tijdens de zogenaamde "age d'or" van qu'on a appele .­Γ age d' or» du cinema populaire grec et certains de populaire Griekse cinema. Voorbeelden zijn : The Germans are molos au succes retentissant: LesAllemands reviennent (I German! Returning' (1948) en 'Music. Poverty and Pride' (1955) van xanarchontai. 1948). Pain, amour et chansonnette (Lanterna. ftochia Sakellarios, The Beauty from Athens' (1954) van Tsiforos, The Small kai filotimo, 1955). de Sakellarios; Viens voir le tonton (Eta sto thio. Hackney­Carriage' (1957) van Dimopoulos en The Drunk' (1950) en 1950). La Belle d1 Athenes (I Orea ton Athinon. 1954). de Tsiforos; Le The Little Driver' (1953) van Tzavellas. Tijdens deze periode blijft de Petit fiacre (To Amaxaki. 1957) de Dimopoulos; L' Ivrogne (O Griekse film sterk schatplichtig aan het theater en vooral aan het methistakas. 1950) et Le Petit Chauffeur (To Soteraki.
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