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Fifty-four years –almost all of them spent in Thessaloniki–, seven feature and three short films, beginnings marked by passion and enthusiasm, a career punctuated with awards and critical acclaim, and then silence: such are the landmarks of the cinematic landscape of Takis Kanellopoulos. Takis Kanellopoulos –the man and the artist– remained unswervingly loyal to the values he had chosen. This romantic, at times poetic man particularly loved American literature from the interwar period. He was incapable of adapting to the developments of his time. He had built his own universe, a world that was impervious to the changes of a society which, in the space of a few years, from the late sixties to the early seventies, had become completely transformed. The world of Takis Kanellopoulos was open to love, to friendship, to death and to the pain of separation, that is to say to all those elements that comprise film itself. His thoughts are dominated by the desire for an impossible escape: his characters are suffocating; they seek a symbolic journey or dream of an excursion, but they keep colliding against a destiny determined to hinder them. The profound loneliness to which the artist would often fall prey is reflected in his work. Every one of his films emanates the conviction that life itself is nothing but an effort made in vain, like taking part in a game where both the rules and the outcome are known beforehand: his heroes struggle, but all they get for their trouble is the truth of loneliness, of separation and death. Characterizing the work of Takis Kanellopoulos is not an easy task. Certainly, one may say that it has been influenced by the French fatalism of the interwar period, but it is also tinged with a nostalgia and poetry that is all its own. This singular blend can result in both the best and worst: descriptions of a marvellous sobriety on the one hand, and an excessive sentimentality on the other. Nevertheless, his characters seem to be stalked by a relentless evil, and beneath the poetry and sentimentality there lurks a cruelty that often strikes them like lightning out of a clear sky. Having known the director personally, I can attest to the fact that the screenplays of Takis Kanellopoulos are taken from his own life; his films being an impression on celluloid of personal memories and experiences. Undoubtedly, the principal virtue of this filmmaker is the fact that he lived with the same honesty and integrity displayed by his characters. He was not a man to make concessions. Thus, when in the eighties’ events and the Greek way of life passed him by, he chose a different means of communication. He began writing novels and short stories that were fortunate enough to be published. Writing replaced the camera, words replaced shots, but still the text was full of images, the rhythm cinematic, the obsessions unchanged. From that point onwards, the filmmaker had entered the domain of dreams, the time of distraction, entrenching himself more and more inside his solitude, communicating less and less with other people. When, during the sixties, he had first-appeared with a short documentary entitled Macedonian Wedding, he was received with great enthusiasm and considered to be full of promise. It was anticipated that his discerning, yet at the same time poetic viewpoint would instill new life in Greek cinema. His first feature film, Sky, was shown abroad, where it won various awards and received critical acclaim. A few years later, historians of Greek cinema considered Kanellopoulos and Theo Angelopoulos as the leading representatives of the renewed Greek cinema. Sky is an anti-war film, which, however, succeeds in going much further than the time and place it describes. The camera follows the odyssey of simple men, as they fight for their own and their country’s dignity, and describes their profound helplessness. War is once again present, as a threat to life in the countryside, in An Excursion, which personally I consider to be the best among the films by Takis Kanellopoulos, the summary of his aesthetic and reflection. Love and war, infidelity and betrayal, guilt and punishment, death and the impossibility of escape are the themes expressed by exquisitely composed images and exceptionally fine music. The words of the heroine: "I dream of an excursion", echo the themes preferred by some of Kanellopoulos’ favourite authors, and also, no doubt, filmmakers, such as Sam Peckinpah. But the exits are blocked by the insuperable wall of impiety, guilt and punishment; this journey will never take place. Kanellopoulos loved certain well-known filmmakers, to whom he referred to often. Thus, the beautiful love story of his Interlude could be considered as a Greek version of David Lean’s Brief Encounter. In The Last Spring, he returns to the subject of war in the form of interwoven short stories. However, this time the narration becomes a little too talkative and at times repetitive. Sunday Chronicle marks the beginning of Kanellopoulos’ colour period. His screenplays are based on his own short stories: stories of great simplicity, emanating an interior warmth and an air of humanity. Romantic Note is undeniably a film marred by its overflowing romanticism, but it does have some beautiful moments. Finally, in his last feature, Sonia, romantic love once again comes up against the pain of rejection, bringing with it death, the final separation. Takis Kanellopoulos constitutes a special chapter in Greek cinema. Up until his death, he sought a singularity, both aesthetic and personal, which in fact he achieved. As I watch his films again, I seem to discern, beneath every character and every dialogue, something unconventional, curious and enchanting. Takis Kanellopoulos died much too young, on a warm September evening, in Thessaloniki, the city he loved. It was as if he wished to make his exit on time; as if he wished to leave a world which he no longer understood; a way of life and a cinematic expression he could not accept. He passed away in silence and solitude, his eyes turned towards the sky of his native land. Alexis N Dementzoglou |
| Makedonikos gamos MACEDONIAN WEDDING Greece 1960 A traditional Western Macedonian wedding. The documentary was filmed in the village of Velvendo. Direction: Takis Kanellopoulos. / Cinematography Iakovos Pairidis. / Editing: Takis Kanellopoulos. / Production Panagiotis Haratsaris. 35mm / B&W 24’ |
| Thassos THASSOS Greece 1961 A documentary about the island of Thassos and its true essence. Direction: Takis Kanellopoulos. / Cinematography: Jerry Kalogeratos. / Editing: Takis Kanellopoulos. / Production: Vassilia Drakaki. 35mm / B&W 20’ |
| Ouranos SKY Greece 1962 October 26th, 1940: at a military outpost near the Greek-Albanian border, the soldiers lead a quiet life. October 29th, 1940: war with Italy has been declared, and the soldiers are transferred to different units, depending on their specialty. Spring 1941: the country has been occupied by Germany; the soldiers leave the front lines and walk back to their homes. Direction: Takis Kanellopoulos. / Screenplay: Yorgos Kitsopoulos, Takis Kanellopoulos. / Cinematography: Grigoris Danalis, Giovanni Variano. / Editing: Takis Kanellopoulos. / Sound: Nikos Despotidis. / Music: Argiris Kounadis. / Cast: Emilia Pitta, Takis Emmanouil, Phaedon Georgitsis, Eleni Zafiriou, Niki Triantafillidi, Lambrini Dimitriadou, Lazos Terzas, Costas Messaris, Costas Angelou, Christophoros Malamas, Stavros Tornes. / Production: Vassilia Zervou-Drakaki. 35mm/B&W 80' |
| Kastoria KASTORIA Greece 1969 The town of Kastoria, as seen from an original viewpoint. Direction: Takis Kanellopoulos. / Cinematography: Yorgos Antonakis. / Editing: Takis Kanellopoulos. / Production: Yorgos Nasioutzik. 35mm / Colour 24’ |
| Ekdromi AN EXCURSION Greece 1966 Irini has chosen to stay near the front lines, so she can be close to her husband, lieutenant Costas. At the same time, she is having an affair with one of her husband’s men, sergeant Stratos. When Costas is injured and has to stay in hospital for four days, Stratos will tell Irini that her husband has been killed, and will ask her to leave with him, far away from the war... Direction: Takis Kanellopoulos. / Screenplay: Yorgos Kitsopoulos. / Cinematography: Sirakos Danalis. / Editing: Takis Kanellopoulos. / Sound: Nikos Despotidis. / Music: Nikos Mamagakis / Cast: Lily Papayanni, Costas Karayorgis, Angelos Antonopoulos, Costas Lahas, Popi Paschalidou, Dimitris Papadopoulos. / Production: Costas Kanellopoulos. 35mm / B&W 85’ |
| Parenthessi INTERLUDE Greece 1968 A man and a woman, strangers to each other, are travelling together on a train. At a station along the way, and during a scheduled ten-minute stop, the speakers announce that there will be a six-hour delay. In this seaside town, the man and the woman will spend a brief interlude of love together. As the train departs, she will continue on her journey, while he will stay behind. Direction: Takis Kanellopoulos. / Screenplay: Yorgos Kitsopoulos, ‚ / based on the play by Noel Coward Still Life. / Cinematography: Stamatis Tripos, Sirakos Danalis. / Editing: Takis Kanellopoulos, Yorgos Triantafillou. / Music: Nikos Mamangakis. / Sound: Yannis Smyrneos. / Cast: Alexandra Ladikou, Angelos Antonopoulos. / Production: Takis Kanellopoulos. 35mm / B&W 90’ |
| I teleftea anixi THE LAST SPRING Greece 1972 During the war, three young men and a young woman who grew up together in the same neighbourhood, say goodbye to each other, as the men go to war. Each one will have a different destiny: one will know death, the other freedom, while the fate of the third one will be uncertain... Direction: Takis Kanellopoulos. / Screenplay: Takis Kanellopoulos. / Cinematography: Grigoris Danalis. / Cast: Emilia Ipsilanti, Yorgos Fourniadis, Vassilis Platakis, Akis Pergantis, Panayotis Patsourakis. / Production: Finos Film, Takis Kanellopoulos. 35mm / Colour 90’ |
| To chroniko mias Kiriakis SUNDAY CHRONICLE Greece 1975 It is a time of childhood years and dreams: Six stories: 1) Old man Stratis, the coachman, tries to find a fare. 2) An elderly couple go to the park every Sunday. 3) A man steals flowers and leaves them in the neighbourhoods his friend used to pass through, before he was killed in the war. 4) A child describes his father’s nameday celebration. 6) Miss Elpida is expecting a letter from the past, which, at long last, arrives. Direction: Takis Kanellopoulos. / Screenplay: Takis Kanellopoulos. / Cinematography: Yorgos Christoforidis. / Editing: Takis Koumoundouros. / Music: Eleni Karaindrou. / Sound: Thanassis Georgiadis. / Cast: Thanos Generalis, Popi Alva. Yorgos Fourniadis, Lina Lambraki, Antonis Theodorakopoulos, Dora Sitzani. / Production: Greek Film Centre, Yorgos Kanellopoulos. 35mm / B&W 78’ |
| Romantiko simioma ROMANTIC NOTE Greece 1978 Four friends are in love with Adriana. Direction: Takis Kanellopoulos. / Screenplay: Takis Kanellopoulos. / Cinematography: Christos Triantafillou. / Editing: Takis Kanellopoulos. / Costumes: Takis Kanellopoulos. / Music: Akis Kakaliagos. / Sound: Thanassis Arvanitis. / Cast: Makis Nakas, Sotiris Solomos, Costas Vlachos, Yorgos Fourniadis, Costas Lahas, Yorgos Mazis. / Production: Greek Film Centre, Takis Kanellopoulos. 35mm / Colour 84’ |
| Sonia SONIA Greece 1980 Summer 1966. For the past year, Sonia has been watching Tonio, the music teacher who lives in the house across the street. When his wife and daughter go out of town, Sonia approaches him. They will get to know each other and fall in love in a gentle, romantic way. But their days of happiness will not last long, as his wife and daughter are on their way home. Direction: Takis Kanellopoulos. / Screenplay: Takis Kanellopoulos. / Cinematography: Stamatis Tripos. / Editing: Takis Kanellopoulos, Babis Alepis. / Sound: Thanassis Georgiadis. / Music: Yorgos Hadjinassios. / Costumes: Akis Athanassopoulos. / Cast: Spiros Fokas, Antigoni Doudoumi, Costas Lahas, Lina Lambraki, Costas Mazis, Christina Katseroni, Yassemis Apostolidis, Akis Laskaris. / Production: Yorgos Kanellopoulos. 35mm / Colour 75' |