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Director Valentin’s long-film Roxanne had its national premiere last Friday on September 11, 2013 at Cinema Pro. I don’t know how many of you know, but it’s a special feeling to attend the premiere of a movie, where the producer, in this case Ada Solomon, comes onstage and tells you about the idea that was at the foot of the film, about the events on the set or about The personal experiences he played in the film.
The film presents the seemingly trivial and slightly tragic story of Tavi Ionescu, a man blazing at 38 years old, more formally involved in a lasting relationship and marked by an unfortunate youth event that seems to be the highlight of his existence. Following a musical dedication he makes to his girlfriend at Radio Free Europe, he is cast to security by one of his buddies. In a post-decembristă and Democratic Romania, he decides to start looking for perpetrator, which is why he asks for the declassification of his dossier. As a result of his reading he found out that his ex-girlfriend at that time had been questioned by security, and this, under the pressure of the moment declared that she was pregnant with him. The possibility of having a child, now 20 years old, gives a new meaning to his existence.
I am convinced that the film wants to be, in addition to an incursion into the lives of people from the Communist era, a plea for how the mistakes of the past can affect both our future and future generations. It creates an unintentionally exaggerated antithesis between the life of Tavi, easily suspended in time, timeless and the life of all his friends, who have families, children, careers, who in a nutshell, have exceeded the period of communism and youth.
But it was impossible for me to sympathize with this character that I perceived as a common man, in the midst of a midlife crisis, manifested by a lack of maturity that would be amusing but it is downright lame. The unsubtle way for the character to insinuate in the life of a family (that of his former friend) with the apparent reason to know the truth, but in fact to fill the gaps of his own existence, is downright tragicomică.
In an attempt to run after the possible life lost with his ex-girlfriend and the child they have together, he neglects his mother sick of Alzheimer’s, neglects his relationship even more than he did until then and refuses to take decisions that concern the future Those who depend on him, like to put his mother in an asylum or buy a house with his girlfriend to stop paying rent.
I cannot even have a touch of sympathy for such a character played exemplary by the actor Şerban Pavlu who gave him life in such a real, vivid way.
Although painted as a funny character Cretu, Tavi’s youth friend, with whom he used to keep a beer, turns out to be, despite appearances, a man much more mature and wise than our main character.
Let’s not forget the extremely significant contribution of the character interpreted by Diana Dumbrava, the eternal friend but never the wife of Tavi, the eternal support and constant source of advice and solutions for others, never for her.
Not all subtleties will be understood by the younger generation, who only knows in theory the drama of a security survey, the social and psychological consequences deriving from such an event.
an exceptional film that I strongly recommend, a introspection from the personal perspective of the producers in what the everyday life of simple people in the Communist period meant.
Roxanne is a must see for those people who constantly ask themselves why nothing notable happens to them in life, why only others have achievements, whether it translates into the form of a family, a career, even despărțirilor or divorce , but finally, achievements.
Roxanne subtly explains that life is happening to all of us, and it’s our decision if we stay engaged in an obscure past or choose to make some not-so-pleasant decisions to be able to move on. William Faulkner said
, “The past doesn’t die, it doesn’t even pass.”
Some learn to live the future despite the fact that they have a past. Others, thanks to him. Others at all.
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