Many were shot during the junta and had the sole purpose of propaganda
The revolution of 1821 was transferred to Greek cinema without much success and with a few exceptions of decent producers. Most are now considered “calt”, probably to avoid appropriate characterizations.
Most of them were these films, many of which were filmed during the junta and were solely aimed at propaganda, with nationalist crowns and heroic fanfares, as did the films for the Greek -Italian war or the occupation and resistance, were down,
Although ’21 revolution It could be a great opportunity for interesting films, with the wealth of events, the interesting to the shocking characters that starred and the multilevel social issues that arose, Greek production insisted on the graphic representation of history, their “plastic” heroism, their “plastic” heroes.
It should also be noted that there are forms of the struggle, such as George Karaiskakis, Odysseus Androutsos, Athanasios Diakos, Makrigiannis K., who are extinct from films of the genre, as if they would disturb a system of values, but would also have the priorities of the environment.
There are, of course, well -founded excuses, as the production of a historical film, and even such an event, requires a lot of money, for sets, weapons, yatagans, costumes, trained cobras, external shooting and many more, which may seem details, but they do not look at the eye. From the battles that look like a child’s play and the ignorance of how a weapon is held, to the trendy haircuts – to scrape them and the favorites – the whitewashed skirts that looked like collar skirts and of course the gloomy anachronisms – up to the watch has been observed …
On the occasion of the national anniversary, it is an opportunity to remember, through some films, but also with nostalgic sympathy, the protagonists – heroes, the notorious “bad”, the intolerable clichés and the most characteristic graphics of these producers, who have become a “favorite” custom.
Bubulin
In 1959 Kostas Andritsos shoots a relatively decent film about the heroine of the revolution, in the form of Irene Pappas dominating and standing angry, giving another air to the film. Dionysis Papayannopoulos in the role of “evil”, while Andreas Barkoulis, Miranda Myrat, Christopher Nezer and Georgia Vassiliadou also appear in one that could be included in the cinematic exceptions for 1821.
The lake of sighs
In the same year, Irene Pappas will star as “Lady Frosini” in the film by Gregory Grigoriou, who stands mainly in love with his son Ali Pasha Muhtar, played by Andreas Barkoulis. The film has a nice production, but it does not avoid graphics, while the very good Javalas Karoussos remains unused as Ali Pasha, as he appears as a faded old man who wants to satisfy his ill -fated erotic passion for the Greek beauty. It should be noted that about the same story was conveyed to the big screen by the well -known actor Stefanos General entitled “Ali Pasha and Mrs. Frosini” (based on the poem “The Lady Frosini” by Valaoritis) and having Melodramatikis Melodratikos Melodratikos Melodratikos Melodratikos Melodratikos Melodratikos. The film is rarely aired on television.
Forty young men
For laughs and crying, the film that George Petrides was filmed in 1961 and today has even been forgotten by cinematic collectors. The scribbled chip wants a chopan to follow Kitsos and his young men who are fighting the Turks. Despite the remarkable cast, with Andrea Douzos, Kostas Kazakos, Kostas Rigopoulos and Lavrentis Danello, the film is a monument of sloppiness and graphic situations, he referred to the EIA.
Papaflesas
We are in 1971 and the time for the “Ben Hur” of domestic production. A production, partnership of Finn and James Paris, which was one of the most expensive of the time, costing over 12 million drachmas. Henry Andreou in the direction will turn it off, completely superficially, with the script finding inaccuracies, but also nonsense and with characters that you often thought were playing in a parody. It was only on its positives the narrative flow and the satisfactory decoupage. In the film there were hundreds of cobras – most of them who could not do otherwise – but also a large number of protagonists of the time who took several second roles. The shooting of the battles, which are not a few, are particularly false, causing laughter – especially with the ploning they do when the bulls receive our young men and especially the “bloodthirsty” Turks – the boredom with which they go to kill. After all, many scenes are for many an observation game with gaffes and graphics. Dimitris Papamichael, in the role of Papaflesa, is part of his exaggeration and exaggeration, while almost unnoticed actors, such as Alekos Alexandrakis, Angelos Antonopoulos, Katia Dandoulakis, Lavrentis, Lavrentis, Lavrentis, Lavrentis, Lavrentis, Fernando Sancho in the role of Dramalis, a characteristic one -dimensional example of the caricature character, while the only surviving is Dimitris Ioakimidis, who was born for the role of Theodoros Kolokotronis.
Manto Mavrogenous
Kostas Karagiannis, in 1971, comes to finish us with his film, starring Jenny Karezis and Petros Fyssun, two great Greek actors, who would probably regret it for their involvement in this unacceptable production. The script, which besides Mavrogenous’s love with Alexander Ypsilantis, also talks about the division of the Greeks, is written by a high school student, while the film is scenes from grotesque scenes. The two protagonists are truly executed by the director, Stavros Xenidis – an excellent actor with a huge theatrical experience – in the role of Kolettis will be irreparably exposed, while Helen Desert in the role of the “girl temptation” (a 19th century Barbi)
Souliots
A child of a childish script, shot in 1972 by Dimitris Papaconstantis, with a lightweight, against the harsh theme of history and often without adhering to any cinematic rule for films of this genre, making it a roster, for the fans of these cases. The film is based on the homonymous novel by Michalis Peranthi, which is probably the scenario of Panos Kontellis. Starring in the role of Christos Politis, Katia Dandoulakis, Yiannis Katranis, Aleka Katseli and Fernando Sancho, who had taken the heroic films for the ’21 and ’40 in those years.
The trial of judges
In 1974, Panos Glykofrydis, having a script that escapes mediocrity, could better shoot the film, producing Finos Films and taking advantage of the fall of the junta. The scenario narrates the trial of Kolokotronis and Plapouta, which took place in Nafplio in 1834 and the courageous attitude of Judge Anastasios Polyzoidis, affected by the fan and the patriotic fanfares. Also, its theatrical structure and inanimate narrative are even more thrown out of the result, which is once again mitigating the appearance of Manos Katrakis in the role of Kolokotronis. Kourkoulos (Polyzoidis) and Kalavrouzos (Plapoutas) are struggling to give their roles, but in vain, as they remain helpless.
In conclusion, a global range, enormous charm and interesting history remains unused, possibly waiting for future generations of filmmakers and producers to highlight, in a way that is a minimum of those who were sacrificed in the national liberation struggle.
