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By Ray Pride Pride@moviecitynews.com

FILM: Autobiography Of Nicolae Ceauşescu

Andrei Ujica’s Autobiography Of Nicolae Ceauşescu (Autobiografia lui Nicolae Ceauşescu, ****) is a wry, comic, hallucinatory, slowly-disintegrating exercise in found footage, sound design and cultural criticism. Its three hours is comprised entirely of propaganda film shot to glorify dough-faced dictator Nicolae Ceauşescu across the decades of his cruel rule of the underprivileged country under Soviet rule. The only footage not under Ceauşescu’s hand is the rough VHS-grade bookends from 1989 of the provisional trial of he and his reputedly even crueler wife, Elena, stunned as they are told they will die for their crimes. What’s most mesmerizing is the rise and fall of production values and as years go by, the increasing unease and even disinterest of the other figures in the government who fill the frame. They smell the slow, encroaching stink of decrepitude, death. Autobiography Of Nicolae Ceauşescu is a far spacier ride than Trey Parker and Matt Stone’s musical rendition of Kim Jong-il in Team America: World Police, and almost sad beyond relief despite being an even more expansive burlesque. (How many millions of dollars did the thousands of hours of footage cost to produce across the dictator’s decades? Yikes.) Yet Ujica’s canny sound design is as critical as his studious montage: it is a critique of an epoch and its monster, but “autobiography” as the vain, vainglorious bastard never imagining he was confecting from his cloud cover of cut-rate hagiography. #

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon