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THE HAPPIEST GIRL in the WORLD a FILM by RADU JUDE Romania, 2008

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THE HAPPIEST GIRL in the WORLD a FILM by RADU JUDE Romania, 2008 THE HAPPIEST GIRL IN THE WORLD A FILM BY RADU JUDE Romania, 2008 TEACHING FILE A European cinematography educational program for youth 2 I - OPENING CINED: A COLLECTION OF MOVIES, SUMMARY A CINEMA EDUCATION PROGRAM CinEd’s mission is to bring the 7th art into light as a cultural object and a means to better know the world. With this purpose I-OPENING in mind, we have developed a working method, starting from a collection of European movies made in the countries that are 1. CinEd: A collection of films & a film education program partners in this project. Our approach is adapted to today’s needs, marked by quick, continuous and important changes to the 2. Argument OPENING way we watch, perceive and produce images. We follow images on multiple screens: from the biggest, at the cinema, to the - 3. Technical specifications I smallest, on our mobile phones, keeping in mind TVs, computers and tablets. The cinema is a young art, that was presumed dead 4. Film stakes more than a few times; needles to say that has not happened. 5. Synopsis Such changes have repercussions over the cinema, its promotion having to be aware of the fragmented manner in which we II-THE FILM watch movies, on different screens. CinEd publications propose and sustain a malleable educational program and inductive, 1. Context: Refreshing Romanian cinema – The impact of politics on interactive and intuitively, offer knowledge, instruments of analysis and opportunities to build dialogs between images and cinema – Challenging the precursors – International references movies. The works of art are approached on different levels, all together but also singling out fragments or highlighting different 2. Jude's pathway: Turning towards the eccentric – Between the time frames. ridiculous and the formal 3. Filmography These educational files are an invitation to get closer to the cinema, with all the freedom and flexibility, one of the stakes of 4. The Happiest Girl... in the context of Jude's films: A constant the program being that it offers the possibility to understand the cinematic image from more perspectives: descriptive, as an preoccupation essential phase of any analytic analysis, the capacity to select images, classify them, compare and confront with other proposed 5. Connections movies, as log as with other arts, literary or representative (photography, paintings, theatre, comic books etc.). The purpose 6. Testimonials is that images should no longer be overlooked, but instead, become meaningful – from this point of view, the movie is an extremely valuable synthetic material to educate the sight and the taste for art of the next generations. III–ANALYSES 1. Sequential decoupage 2. Cinema issues: An expanded narrative – Cinéma vérité – Going against the classical style – Sound - Blurring the attention 3. Tenseness (Analysis of a shot) 4. No escape (Analysis of a sequence) Author: Gabriela Filippi, film critic, PhD candidate and teaching assistant at UNATC (The National University of Drama 5. Show us how happy your are! (Analysis of a Photogram) and Film, Bucharest). General coordinator: Institut français IV-CORRESPONDANCES Pedagogic coordinator: Cinémathèque française / Cinéma, cent ans de jeunesse 1. Bonding images Local coordinator: NexT Cultural Society 2. Film about film – The nonprofessional actor – Difference of vision Graphic adaptation: Laura Belc – Intrusion of commercials in art – The luckiest and happiest girl Editors: Andrei Gorzo, Ana-Maria Lişman in the world 3. Dialogue between films: The Happiest Girl in the World & Shelter: Acknowledgments: Andrei Gorzo, Nathalie Bourgeois, Arnaud Hée, Yvonne Irimescu An implicit social critique – Frail relationships Copyright: / Institut français 4. Perception of the film: Crossing viewpoints V-PEDAGOGICAL LEADS 1. Before the screening 2. After the screening 3 ARGUMENT TECHNICAL SPECIFICATIONS I - OPENING When first encountered, Radu Jude’s films may be shocking on account of their aggressiveness, but, before they’re over, they Country and year of production: Romania, 2008 prove to be more generous than that. One of the foremost members of the Romanian New Wave, Jude steadily distanced himself Running time: 1h 40min from the realist formula that brought Romanian filmmakers to the attention of the world’s most important festivals in the mid- Format: color – 1.85 : 1 – 35 mm 2000's and found his own style, with a certain proclivity for the absurd and, in his latest film, the grotesque. Budget: € 650,000 (estimated) World premiere: 7 February 2009 (Berlin International Film We are glad to include in the CinEd collection his feature film debut, The Happiest Girl in the World, a film that casts an amused, Festival) but also clearheaded eye at what being a teenager is like. Youths have a lot to learn from it: the depicted themes are connected Romanian premiere: 26 March 2009 (Bucharest) to their concerns, while also stimulating their intelligence, as the characters and the atmosphere of the film are full of life. Crew They will discover in this film another way of narrating a story than they’re used to in mainstream cinema, a realistic aesthetics Director: Radu Jude; Screenplay: Radu Jude & Augustina in which variety is not achieved by quickly alternating shots, but with the abundance of details held within. Also appealing is Stanciu; Director of photography: Marius Panduru; Sound: the fact that the film is not at all didactic and does not place the blame on either side. This vision of life, as a ridiculous to and Constantin Fleancu; Costume designer & Scenery: Augustina fro, might resonate with certain books that youths typically discover at this stage in life. We hope that the stylistic informality Stanciu; Editor: Cătălin Cristuţiu; Producer: Ada Solomon of Jude’s film would inspire them to look for a personal style and maybe actually determine them to try and express themselves through cinema even with the minimal resources that they might have available. Casting Andreea Boşneag (Delia Frăţilă), Vasile Muraru (Mr Frăţilă), Violeta Haret (Mrs Frăţilă), Şerban Pavlu (the director), Andi Vasluianu (the director of photography), Doru Cătănescu (Arvunescu), Alexandru Georgescu (the client), Luminiţa Stoianovici (the make-up artist), Bogdan Marhodin (Viorel), Diana Gheorghian (the producer) Romanian Poster International poster 4 I - INTRODUCERE Realist Absurdity Cinema OPENING - I Publicity in Parent-child art relationship Non-professional Film about film actors Key: Forced to give a big smile for the cameras to show just how happy she is for winning the sweepstakes, Delia pulls a ridiculous face. 5 FILM STAKES SYNOPSIS I - OPENING far as understanding the process of film-making and the Delia, an 18 year old girl living in a small health resort, REALIST CINEMA. relationships between the different departments. wins a car in a sweepstakes held by the manufacturers of For the most part, Jude’s film belongs to the realist tradition a fizzy drink. The girl is required to appear in a TV spot for that, going against the principles of mainstream cinema, tries PARENT-CHILD RELATIONSHIP. said company, which is how she ends up travelling with her to depict on screen subject that are less out of the ordinary, The relationships between characters in Radu Jude’s films parents to Bucharest. First, her parents decide to sell the car more in tune with the lives of regular viewers or to shed light are always strained, sometimes bordering on hysteria. Each on the spot in order to make ends meet, disregarding the on the lives of societies’ outcasts. Opposing a glamorous character tries to manipulate the others and bend them to girl’s desire to at least hang on to it for a little while. Then, cinema, realist cinema refuses to employ a large palette of their will. The interactions between her family’s members the shoot goes badly, with the crew showing little patience audio and visual techniques that are meant to make the film aren’t any more harmonious. Often times, Delia’s parents also for the confused young girl who doesn’t seem to find any a more beguiling experience for the viewers. reveal themselves to be immature. Strongly wanting to get understanding anywhere. something from the girl, they go in for the kill and don’t notice ABSURDITY. that they are hurting her feelings. The characters in The Happiest Girl in the World orbit around the same situations, endlessly repeating, which makes their PUBLICITY IN ART. actions futile. Jude’s film shares obvious affinities to the The adoption of mass production techniques brought about aesthetic of the absurd, particularly as it appears in the work major change in society, in the process transforming the of Samuel Beckett, Eugene Ionesco or Albert Camus, where way contemporary reality looked. At the beginning of the ridiculous situations with no way out are to some extent 20th century there were many who said that the new visage funny, but coming together to form a vision of existence, they of the world – vulgar and mercantile – was not worthy of also reveal their tragic dimension. attention from the arts. However, movements like Pop Art have facilitated the acceptance of advertising’s new images. NON-PROFESSIONAL ACTORS. The way that advertising is depicted in The Happiest Girl in Even in the 1920’s, the Soviet cinema and afterwards, in the the World also puts forward a critique of this field. It accuses it 1940’s, the Italian neorealist cinema used people that were of forcing the world to conform to a very strict set of designs, not trained as actors to star in films. Selecting them by their a very limited vision. particular physical traits or peculiar behaviors, filmmakers strived for added authenticity when comparing their films to those that employed professional actors, their standardized training and their reliance on customary beauty standards. This practice was passed on especially by realist films. In this regard, as well, The Happiest Girl in the World is a mix: a non- professional actor for the character of Delia and for the rest, actors of varying professional backgrounds.
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