Days Of '36

Days of '36 is a captivating Greek drama film released in 1972. The film was directed by Theo Angelopoulos, one of Greece's most acclaimed film directors renowned for his unique cinematic blend of historic narrative and allegory. The film stars Vangelis Kazan, Kostas Pavlou, and Thanos Grammenos, whose remarkable performances give the story intense life on the screen.

Days of '36 is set against the backdrop of political unrest and societal transformation in Greece during the 1930s - a time when the country's two major political factions, the Communists on the left and the Fascists on the right, were in a tense competition for power. The title refers to the year 1936, a pivotal year in Greek history when the Metaxas dictatorship began, one of the most oppressive regimes Greece has ever known.

The film begins with a seemingly simple and everyday incident - a petit criminal named Sofianos (played by Vangelis Kazan) is arrested for petty theft. Once imprisoned, Sofianos takes a Member of the Parliament hostage, turning a minor event into a national crisis. The sudden situation puts the Greek government under enormous pressure. They struggle to handle Sofianos' audacious act while maintaining the public order. Every decision they make could either inflate or defuse the brewing social tension.

Certain elements, like the central character Sofianos, seem more symbolic rather than literal. Sofianos' spontaneous act of rebellion is presented as an emblem of the social disorder bubbling beneath the surface of Greek society. Vangelis Kazan's understated and nuanced portrayal of Sofianos fleshes out the character's somewhat cryptic motives.

Kostas Pavlou and Thanos Grammenos deliver equally outstanding performances. Pavlou plays a mysterious figure whose identity remains ambiguous throughout the film, while Grammenos portrays an ambitious politician who sees his chance to rise in power amidst the crisis.

The director Angelopoulos articulates the pervasive political and social tension in Days of '36 through a series of long takes and meticulously blocked scenes. His signature style of long tracking shots and desolate landscapes add a further element of suspense to the narrative. Angelopoulos frames his characters often small against vast landscapes or ominous architecture, underscoring the overpowering might of the State and the Eric presence of the political crisis.

The narrative does not shy away from taking indirect jabs at the reigning abyss of bureaucratic inefficiencies in Greece during this period. Angelopoulos represents the Greek government's response to crisis as chaotic and inconsistent. The rather comedic depiction of politicians constantly swaying between decisive action and helpless indecision stands as a critique of the dangerously disorganized nature of the government.

Themes of power, manipulation, social order, and resistance are vividly explored in the Days of '36. Remarkably, the film is equally notable for what it doesn't show as for what it does: a major plot point is the conspicuously absent Sofianos, who remains unseen for a considerable part of the film.

The film features an idiosyncratic mix of political drama and absurdist humor. Moments of dark comedy are scattered throughout the film, providing biting commentary on the absurdity of power struggles and the often-pedantic nature of bureaucracy.

Days of '36 caused quite a stir upon its release due to its frank critique of Greek politics, which was rather ground-breaking for its time. Because of its political content, the film is not just compelling as a piece of cinema, but also important as a historical document reflecting and critiquing the sociopolitical landscape of Greece during a crucial period in its modern history.

In summary, the Days of '36 is a thought-provoking film that seamlessly combines historical narrative, social commentary, and artistic expression. It paints a compelling picture of a country in turbulent times. With powerful performances, intriguing characters, and its unflinching exploration of political chaos and social unrest, the film stands as a milestone in Greek cinema and a significant work of Angelopoulos’s provocative filmography.