As a kid, I was always fascinated by maps, and especially by certain countries or parts of the world. Eastern Europe was one of those areas; the countries there all seemed more “foreign” because they were still behind the Iron Curtain (I’m old). Most of the people there speak Slavic languages that just sounded more different to my young ears, often written in different alphabets. Then you have Hungary, a country of non-Slavic people with a history and language unrelated to anyone else in Europe outside of Finland and Estonia (the latter of which wasn’t independent until I was in college), and its own complicated history of independence and subjugation. You had Yugoslavia and Czechoslovakia, two made-up countries resulting from international meddling and post-war treaties; neither exists any more, with Yugoslavia, at the time appearing to be the most moderate of Communist countries because its dictator, Tito, led the “non-aligned movement” of countries that declined to take sides in the Cold War. Yugoslavia comprised at least a dozen different ethnolinguistic groups, now split into seven independent countries, two of which have majority Muslim populations, two others of which speak the same language but use different alphabets for it and thus both claim they’re speaking something different. Czechoslovakia has been split into two countries, although there’s a historical third (Moravia) that appears to be gone for good. The Soviet Union itself subsumed at least nine independent countries in eastern Europe and the Caucasus, plus some short-lived entities like the Mountainous Republic of the Northern Caucasus.
And then there was Romania, another oddball in the region, the only language east of Italy where the primary language is from the Romance branch of the Indo-European language family; Romanian has evolved a more complex, Slavic-influenced grammar due to its geographic and political isolation from other Romance languages, but if you’re fluent in any of the latter you can probably gather the gist of written Romanian. Moldova, an independent country on Romania’s border, also has Romanian as its primary language, but they call it Moldovan and insist that it’s a distinct tongue. (To say nothing of the Gagauz.) Transylvania, which is totally a real place, is now part of Romania. They were briefly one of the Axis-allied nations in World War II, along with Hungary and Bulgaria, the latter of which had a real knack for picking the wrong side in world wars. The country featured the most dramatic and violent shift to democracy, executing its dictator and his equally corrupt wife on live television, and at one point appeared to have a nascent software industry that might lead to rapid economic development.
That didn’t happen, and if you wanted to know just how Romanians view their country right now, Christian Mungiu’s latest film, Graduation, paints a grim portrait where corruption is so woven into the societal fabric that nothing would function without it. Mungiu won the Palme d’Or and earned an Oscar nomination for Best Foreign Language film for 2007’s 4 Months, 3 Weeks and 2 Days, and was named co-winner of the Best Director Prize at Cannes in 2016 for this movie, which Romania did not choose for its annual submission to AMPAS. (His 2012 film, Beyond the Hills, was Romania’s submission that year and made the shortlist but not the final five.)
Graduation, which is streaming on Netflix, tells a small story to explain the big theme of the rot that institutionalized corruption has caused in Romanian society. Romeo Aldea is a successful doctor in a modest city in western Romania who returned from somewhere abroad with his wife in the hopes that Romania was developing into a modern society. Their daughter, Maria, is about to take a critical test to secure her scholarship to Cambridge University in England, but the morning before the exam, she’s attacked by a would-be rapist, injuring her arm (so she can’t write easily) and traumatizing her. Romeo, who was busy with his mistress when he received the call that Maria had been hurt, decides to play the system, moving a patient up the list for a liver transplant in exchange for having his daughter’s exam graded favorably enough to retain the scholarship.
Romeo is an unpleasant fellow who would probably bristle at such criticisms; he’s even praised at one point in the film for his spotless reputation and refusal to take bribes from patients in the past. He clearly thinks he’s doing what must be done for Maria, given that this is how Romania works and that other parents wouldn’t hesitate to call in favors or pay bribes to help their kids – especially to get their kids out of the dead-end cycle the film tells us is trapping everyday Romanians in a lower-class, hopeless life. A western education at a premium university is a ticket out, and even though Maria seems to be waffling in the wake of the attack and her commitment to her shiftless boyfriend Marius, Romeo commits himself to this path, convinced he’s doing the right thing even as the situation starts to worsen around him.
The entire movie seems to take place on cloudy days in a city where every color is some shade of gray and the dominant architectural aesthetic might charitably be described as communist chic. There’s construction, but to no apparent end, and the chaos of it creates the opportunity for Maria’s attacker. A minor subplot involves Romeo’s mistress’s young son, who has a disability and may do better in a specialized public school that has no openings because they’re all reserved for siblings of current students – or for those who have paid their way in. Another thread revolves around Romeo’s affair and how his wife reacts not to the infidelity itself, which she already knew about, but to Maria’s discovery of it. Romeo still seems unfazed by the changing attitudes of everyone around him, including his daughter’s own disdain for his attempts to use the system to benefit her, because he’s so thoroughly convinced of his own correctness. And while it’s easy to condemn him from the other side of the screen, what parent among us wouldn’t bend or break a rule to help our children?
There are few movie genres I enjoy more than these dramatized examinations of bureaucracy in other lands, particularly those of non-Western cultures. Mungiu’s own “4 Months, 3 Weeks, and 2 Days”, Farhadi’s “A Separation”, and, best of all, Kurosawa’s “Ikiru” reveal great truths about their respective societies through the telling of a humble citizen’s navigation of their byzantine but culturally specific systems. I’ve had this one in the queue for a while and will get to it soon.
I thought this was a good (but fairly grim) movie. I finally saw “Florida Project” today, and it lost me in that final sequence (I’m pretty sure I actually rolled my eyes at one point.)
It’s an obvious fantasy sequence. The whole point of the movie is the wonder of childhood, even in straitened circumstances.