Closer to the Moon
Pros: cast, music, gallows humor
Cons: the reality was not funny, making for uncertainty of mood in making and reacting to the movie
Set in Bucharest A.D. 1959, “Closer to the Moon” (2013, written and directed by Romanian Nae Caranfil; released in the US in the spring of 2015, now streaming on Netflix) is a Romanian, Polish, Italian, French, US co-production in English with handsome Brit Harry Lloyd (The Theory of Everything, Wolf Hall, Game of Thrones) as the innocent busboy, Virgil, who observes what is supposed to be a movie of a holdup of an armored car being shot. Except that it’s a real hold-up, and after its perpetrators, old-line (pre-WWII, wartime resisters of the Nazis) Jews, have been condemned to be executed, they are forced to appear in a propaganda film about the holdup they perpetrated. Yes, a movie about a robbery disguised as a movie. There are scenes from the 1960 Romanian black-and-white movie shown during the closing credits.
Before that, however, Virgil becomes a movie camera operator, and has a last-night fling with the woman of the group of disillusioned communists, Alice Berkovich (Vera Farmiga [Up in the Air]). The State Security official in charge of making the movie, who continues to investigate the crime even after five death sentences have been passed (Anton Lesser) has ordered Virgil to find out where Alice’s son is hidden and to find out why the robbers did it. The short answer to the second question is that they wanted to show that the state’s claim that crime had been eliminated in the worker’s paradise was false. Virgil goes with Alice when she escapes chaos on the movie set and visits her son, Mirel (very blond Marcin Walewski) but before Virgil can be pressed to provide answers to either questions, Holban is sacked by the minister (Darrell D’Silva).
The organizer of the heist, who becomes de facto director of the movie re-enactment, Max Rosenthal (Mark Strong, who reminds me of Jon Hamm; Strong played Jim Prideaux in the 2011 movie version of “Tinker Tailor Soldier Spy”) was married to the minister’s daughter, which led to an appointment as chief inspector of the Bucharest police. (The other conspirators to ridicule the Romanian state are history professor Yorgu (Christian McKay), newsman Razvan (Joe Armstrong), and astrophysicist Dumi (Tim Plester) who had been liaison to the Soviet space program in the Sputnik era, but had been replaced due to Russian/Soviet anti-Semitism. And Max is the father of Alice’s son.)
There is Pirandellian black comedy throughout the movie, especially in the re-enactment of the heist. The nominal director (Allan Corduner) is passed out drunk every day of the shoot (and, presumably, every day not of the shoot, too). Or, perhaps, it is Jewish gallows humor within a Pirandellian black comedy or is is Mittleuropa comedy?… The whole project is remarkably light-hearted a prelude to real execution, following a kangaroo court in which the defense attorney is barely allowed to complete a single statement or to question witnesses. The satiric comedy of the 2013 movie is definitely set within the tragedy of the Jewish communists disillusioned by the regime they were deeply involved in putting in power (tragedy both for them and for the people of the Socialist Republic of Romania, even before the predominance of Nicolae Ceausecu from 1965-89).
Noting that the Soviets had been able to launch a dog into orbit, but not bring him safely down, Max requested to be sent into space, rather than being shot by a firing squad, but his request is angrily rejected. (So none of them gets closer to the moon than Dumi observing Sputnik launches).
An effective soundtrak was composed by Laurent Couson, and Marius Panduru’s cinematography was top-nothc, as was the acting, with Anton Lesser especially standing out as an oddly tragic functionary of the Romanian communist government.