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The
camera tranks forward, zooms to them while Levy is talking about
danger
of A journey. The
scene is cut and they arrive Levy’s place and a new figure appears,
the daughter
of Levy,
Moi (
Maia
Morgenstern ).
She looking for her father to go back home before the sirens blow.
While A and her dialogue is continuing,
she say ” Your face seems like familiar. ” , with that speech
Angelopouslos underline the reason why almost every female character
played by same star due to the fact that women are reminiscent of
someone he lost a long time ago.

Then,
A get out from a hole under the street, the camera pans left with A
and suddenly
an
explosion is heaard, the
camera cranes up, showing otomobiles, houses, everything is on fire.
The sequence follows one of the dramatic
frame, the
master shot of mentally
ill people come out in the street. The camera tracks forward, they
look at the dead people
in the street and walk around unaware of anything. There is nobody
except
insane people surrounded
by disaster.
A
goes back and Levy gives the good new that he
finally has
discovered the formula to develop the three film reels.
For
the fist, A is seem happy, he eventually reach his aim after a very
long and diffucult journey.

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” In
that city, fog is the best friend of man because it is the only time
the city gets back the normal almost
like it used to be,
the
spiders have to lead of …, foggy days are the feast
days.”
The stunnig
speech reflect hopelessness
of
the people in Sarajevo. Hearing
footsteps
and the music of the youth orchestra signal the welcome relief of the
fog that descends on Sarajevo, shielding its citizens from the
omnipresent threat of snipers. The
ochestra
made up by Serbians, Croatians and Muslims performs Eleni Karaindrou,
displayes that all people shall be unity to bring peace in their
country
The
next scene opens in foggy and
gloomy atmosphere with powerful soundtrack. The camera cranes up,
showing the orchestra of children. The frame is symbol of people’s
hope for the future.
The
film ends with the scene in which Levy’s family are killed by
snipers in “foggy day”.

Cold
and warm colours are used interchangeably in the scenes in Sarajevo,
until the reality of death destroys all colours in the mist. A
reaches to the purpose of journey
but he witness the pain, sorrow, somberness,
political and social decline of the 20th
century Balkans.

As

a conclusion, Angelepouslos’
Ulysses’ Gaze
unable us to accompany the director A’s journey for searching three
reel film of Manakis brothers.
With that journey, Angelepouslos intend
to externalize the consequences of the war, pain
and sorrow of the people in 20th century the Balkans by
using long takes and long shots.
He
refrains from close-ups
to exact moments and scenes that distinctly express the inner feeling
of the charactersand the hidden emotions, instead the
camera is always sets
at deep focus, with almost parallel focalisations, replacing thus
multiple shots with multiple perspectives, trying
to reflect it deeper by
aid
of intense score of Eleni Karaindrou.
Also using dark colors, low-key lighting reflects
woeful and gloomy atmosphere of film. Angelopoulos’
Ulysses’
Gaze
deals
with many issues, such as: borders between countries and immigration;
the societal deconstruction of and adverse effect on Greek villages
post World War II and Civil War; and political instability in the
Balkan region. The
film also
explores
the dismal living condition of ordinary people under the
consequences of the war. The
film give an opportunity to ‘gaze’
and
make a journey between present and past with A’s memories and
Manakis Brothers’ reel films. Angelopouslos’
Ulysses’ Gaze is a masterpiece, combines
the filmmaker’s intimate and personal universe with the historical
and generational aspects that have shaken the Balkans since the early
20th century, when the area ceased to be part of the Ottoman Empire
to become an object of greed and centre of conflicts that break out
time and again in the hands of the European powers.

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