As a topic for contemplation, the decay and dissolution of the Romanian landscape of movie theaters runs deep. Once a sort of burgeoning socialist arrangement for communist propaganda, less than ten percent of the theaters functional before the 1989 Revolution are still in use today. I wrote about this a while back, in my timely reflections on our local “retro” cinema, Timis. In larger cities, these have been replaced by multiplexes, a convenient mixture of commercialism and, often, more commercialism. These are, at least, solid venues to go to and enjoy a movie every now and again.
Cinema, mon amour is an ode to times gone by, relating to multiplexes like an art-house picture to a blockbuster. It tells the tale of Cinema Dacia and its manager, Victor Purice, a seemingly passionate and expansive individual. With limited support from the owners of past state-run cinemas, Romania Film, he, alongside the staff of two (maybe three) of the cinema, do their best to keep the movies running in Piatra Neamt. The documentary doesn’t so much build a story arc, as it tries to be an exploration of need and improvisation. As such, we mostly follow Purice around in his day to day duties and musings, in somewhat too fervent of an admiration for the man to feel at ease. But the fact remains that Dacia is an exception rather than the rule, to some degree due to the personal efforts of Mr. Purice.
There are fascinating moments throughout Cinema, mon amour – usually details, more than overt exposition elements. For example, the staff of the cinema takes a lunch break at one point and you see them use movie posters as table cloth. Or as Mr. Purice is explaining one thing or another inside the projection room, the walls are filled not only with traditional posters (Speed seems to have been particularly popular), but also with playboy-esque centrefolds. Moreover, the level of improvisation required to keep the location running is equally fascinating and disturbing. It’s a matter of folklore that Romanians are great at “making whip out of crap”, but Cinema, mon amour really captures the essence of it as Mr. Purice creates a make-shift heating installation under the seating arrangement – a health and safety red flag if there ever was one. But it works, and alongside another heater, blankets and hot tea, the cinema keeps running through the harsh winters of Eastern Romania.
The documentary ultimately portrays a failing business, yet never takes the time to question this matter much. It stays romantic all the way through, not once really delving into why there is no niche in Romania for local cinemas (hell, for local culture in general). It’s something worth discussing, because there is interest in movies and there’s even interest in some less mainstream movies – this very projection took place at a festival showing such pictures and you’ll find weekly movie screenings in cafes and pubs throughout the city (all free entry, though). Looking beyond these macro-issues, I would suggest that most local cinemas like Dacia fail not only because of their decrepit infrastructure, but because they are stuck in time. The movies they show often target similar audiences to the multiplexes and the staff, as portrayed here as well, have been working in the same places for decades. Most of these cinemas don’t only feel cold, they are cold – and lifeless. Having frequently visited a local cinema in my hometown, run by the same company, the borderline untenable conditions are similar, yet I have never seen an authority figure outside the two joyless cashiers.
Mr. Purice, who seems to make some difference in Piatra Neamt, is a solitary figure. More so, while there are some endearing moments, the over-reliance on his charisma wore me out by the end of the documentary. And certain scenes feel off, like one in which he returns from a visit to a cinema in Germany, apparently ready to give up, accepting the futility of it all, only to argue himself out of it in the spirit of unity with his passive and subservient staff. Perhaps I’m being harsh, but I felt Mr. Purece to be rather condescending and overbearing, whichever his other merits might be.
My cynicism notwithstanding, Cinema, mon amour is a story I do care for very much. It does not flesh out its subject matter enough and bets the house on how its ‘lead’ will appeal to the viewer, yet it also has enough character to be authentic and relevant. The ideal meta experience, of course, is to watch the movie at Cinema Dacia – so there it is, a goal for life.
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