andreea bibiri
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andreea bibiri was born on may 3, 1975 in bucharest, romania. she is an actress, known for despre oameni si melci (2012), stare de fapt (1995) and vertiges (1997). she was previously married to alexandru berceanu .
with: victor rebengiuc (niki ardelean), razvan vasilescu (florian tufaru, known as flo), coca bloos (poucha ardelean), mihaela caracas (doina tufaru), serban pavlu (eugen tufaru), dorina chiriac (angela tufaru), marius galea (mihai ardelean), andreea bibiri (irina ardelean) and alexandru bindea (fratele irinei) .
“niki and flo” spends time with a variety of characters, including eugen and angela; their mothers, poucha (the marvelous coca bloos) and doina (mihaela caracas); and mihai’s widow, irina (andreea bibiri). its center of gravity, however, is unquestionably niki, whose suffering is all but invisible to everyone around him. his evident struggle to uphold an ideal of capable, selfless, patriotic manhood—an ideal no one else seems to care about or even recognize—is the axis of the film’s drama, and it turns into something larger, more complicated and more frightening than the quiet sorrow of an old man .
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the animated film that started it all. produced by walt disney feature animation in burbank, california, this unassuming stop - gap project grew to become a mythic phenomenon, setting record numbers for box - office sales and merchandising revenue around the world, and inspiring thousands of fans to build on its story with their own creativity .
image archive hundreds of high - quality screen images, clip art, and more! sounds & music dialogue clips, midi songs, and cd track information. texts & fan - fiction essays, reviews, production notes, and hundreds of fan stories. video clips video files of memorable scenes, and many more interesting movie files. character profiles pictures and descriptions of all the lion king characters and their roles in the story .
the long - awaited sequel. a direct - to - video production by walt disney television animation, simba' s pride adds new characters and another chapter to the circle of life mythos begun in the original theatrical film .
the circle of life begins anew with a fresh, satiric retelling of the original film' s story, from the comic perspective of the meerkat timon and the warthog pumbaa. a tribute to the grandeur of the original as much as it is a satire, this direct - to - video production (from walt disney tv animation australia) appeals to wistful nostalgia as much as to our funny bones .
premiering in minneapolis in 1997, the lion king: the broadway musical has found a permanent home as a fixture on 42nd street, the heart of the theatre district on times square in new york. numerous other productions have set up in other cities around the world to showcase julie taymor' s revolutionary stage rendition of the original film' s story .
was translated into and released in 44 languages for markets around the world. this page lists the voice actors for as many as possible of these languages .
select language: english - the lion king french (français) - le roi lion spanish (español) - el rey león german (deutsch) - der könig der löwen italian (italiano) - il re leone japanese polish (polski) - król lew finnish (suomi) - leijonakuningas swedish (svenska) - lejonkungen norwegian (norsk) - løvenes konge danish (dansk) - løvernes konge dutch (nederlands) - de leeuwenkoning portuguese (português) - o rei leão korean russian - korol' lev urdu (pakistani) zulu - inkosi ubhubesi turkish - aslan kral slovenian croatian romanian other ...
there is no information for the cast in languages other than those listed in the menu. if you have information to contribute, please feel free to e - mail me to help complete this site !
își conturează personajul cu trăsături clare, fără ezitări, cu energie contagioasă, fără, însă, a - i agresa în vreun fel vulnerabilitatea. (…) sp
ectacolul ”o femeie singură” devine, astfel, o mică și strălucitoare bijuterie pe care o iei cu tine, acasă, pentru a te mai minuna de ea o bucată de vreme. ” –
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romanian girls; their dress appears more provincial and less like a
costume .
wish i knew more about this eastern european people - - very near neighbors of. apr 1, 2016. premiu pentru cel mai bun portret. date, 6 january 2009. source, membru in cercu rosu. author, alexandru uiuiu. alexandru uiuiu este scriitor, fotograf si. un om, care vrea sa tina timpul pe loc in imagine si cuvint. aici gasiti citeva incercari! :) razboiul este din. skype? kokia karma english romaji hd. banda zaluzejo? justin bieber in zombie apocalypse unturned gameplay. alexandru uiuiu text edit, doom wow add - ons. this is
alexandru uiuiu, reprezentant al ministerului culturii? n bistri? a - n? s? ud -
? i? tiin? a face parte din cultur? .
by .
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the aro car factory went bankrupt and is about to be privatized in a week. it will be bought by a french company that intends to turn it into a snail farm. the currently factory has 3000 workers and only 300 will keep their jobs. union leader george (andi vasluianu), (ana' s husband, father of viorel) lives with a modest monthly sum, like all the other workers in the city. not able to sleep, one night she sees a television commercial about a sperm bank that pays $ 50 for each donation. that' s the mad idea to save workplace of his colleagues. if 1, 000 workers sell their sperm for a week, they could raise enough money to save the factory from bankruptcy. written by lament
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jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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bucharest non - stop
is a romanian feature film that tells the story of a neighborhood of bucharest. more specifically, the film is a night of non - stop life of a store located in a... see full summary »
cristian, a young idealistic prosecutor whose career is on the rise, tries to crack a case against a senior colleague accused of corruption. the dilemma of choosing between his career and... see full summary »
love. it just happens. no rules. it may look sick, but it' s deep and it hurts. for everyone, alex and kiki are just good friends. they happen to be two girls experiencing another kind of love. for their family, kiki and sandu are sister and brother who sometimes fight. they happen to be lovers. love sick is about their stories .
marius is a divorced man in his late thirties. his five year - old daughter sofia lives with her mother, which causes marius a deep frustration. on the day marius arrives to take his daughter... see full summary »
a newbie agrees to deliver the wrong merchandise for money. he will learn soon that this trip will change his views about life, forever .
velicanu considers himself a fulfilled person. he' s got money, a new villa, married a younger woman and has a son from a previous marriage. before the holidays he has to leave everything in... see full summary »
two weeks before his release, a teenage prisoner learns that his mother has returned home. meanwhile, he finds himself in love with a student working in the penitentiary as an intern .
after the terrible news of a fatal car accident involving her son, a desperate mother will do anything in her powers to set her child free .
delia, a young romanian girl, drives to bucharest with her parents to collect a prize she won in a contest .
in 1911 - 12, the romanian movie director grigore brezianu and the financial tycoon leon popescu made together the 2 hours long movie
romania' s independence
- an as faithful as possible... see full summary »
in a small isolated village, in 1953, a wedding is interrupted by the news about the death of stalin. because any public celebration is forbidden, they decide to turn the happy event into a silent wedding .
the aro car factory went bankrupt and is about to be privatized in a week. it will be bought by a french company that intends to turn it into a snail farm. the currently factory has 3000 workers and only 300 will keep their jobs. union leader george (andi vasluianu), (ana' s husband, father of viorel) lives with a modest monthly sum, like all the other workers in the city. not able to sleep, one night she sees a television commercial about a sperm bank that pays $ 50 for each donation. that' s the mad idea to save workplace of his colleagues. if 1, 000 workers sell their sperm for a week, they could raise enough money to save the factory from bankruptcy .
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bucharest, romania (ap) —media tycoon dan diaconescu drives a white rolls royce, looks like a used car salesman in his shiny mauve jacket, promises to create thousands of jobs and has emerged as a key player in romania' s bitterly contested parliamentary election .
the owner of two television stations, diaconescu' s populist party is running third in sunday' s vote, according to polls. the gray - haired, multimillionaire talk show host from romania' s disenfranchised south appears to be tapping into widespread discontent with traditional political parties seen as arrogant, sniping and corrupt .
people cling to me like i' m their only hope ,
the lanky 44 - year - old said in an interview with the associated press this week, after driving six hours from the poor mining town of targu jiu, where he is running for a seat in parliament .
they say i' m the one who' ll save them from poverty, they ascribe to me qualities that i don t really have, or they consider me some sort of messiah, a savior of romania .
even by romanian standards, politics have been tumultuous this year. the impoverished balkan nation has seen three prime ministers and cabinets, huge anti - austerity protests, and a government criticized by the european union and the united states for failing to respect the rule of law during a failed bid to impeach president traian basescu .
many in the country of 19 million are fed up with a bitterly personal power struggle between basescu and prime minister victor ponta, especially as the country remains one of the poorest and most corrupt members of the eu, and endures deep austerity cuts in return for a €20 - million ($ 26 - million) bailout to help its foundering economy .
polls give ponta' s center - left governing coalition a comfortable 57 percent of the vote. but a fresh political crisis could break out after the election if, as threatened, the center - right basescu refuses to nominate ponta—whom he recently called
a pig ,
a compulsive liar
and a
little cat .
diaconescu is frequently dismissed by mainstream politicians as an unsophisticated arriviste from the backward south, whose marathon talk shows on his otv channel — with the slogan
live sensationally
—made him a star. but he has taken votes from both basescu and ponta, and will likely be a pivotal voice in the new parliament. basescu' s allies are expected to rely on him for support .
he has earned admiration from everyday people as a sort of romanian oprah winfrey, a man from a modest background who made good and hasn' t forgotten his roots. though he drives a luxury car, he has never fixed his crooked teeth and is very quiet about his personal life and assets .
i like diaconescu because he is pleasant and respectful to everyone whatever their class ,
said lucia popescu, who works as a security guard in bucharest .
he thinks before he speaks, he is gentle and people have had enough of mudslinging all day long, on the tv and in the newspapers .
in a country where corruption is virtually a way of life, diaconescu has not been immune to such allegations himself. ponta accused diaconescu of being a con man over his failed attempt to buy a chemical plant for €45 million ($ 59 million), saying the entrepreneur never had the money and that it was just a pre - election publicity stunt .
diaconescu himself is under investigation for two fraud - related cases, for allegedly trying to blackmail a mayor to stop him airing damaging information, and for fraud in the chemical plant deal. he claims the charges were trumped up—and calls himself an outsider who understands business better than many in government .
diaconescu, whose campaign is awash with his
lucky
color purple, promises to slash sales tax from 24 to 10 percent, create thousands of jobs and give €20, 000 ($ 26, 000) to budding entrepreneurs. he told the ap he would find the funds from public money that is currently siphoned off by corrupt officials .
we believe that if this money is no longer stolen by our new political class, romania would have 40 percent more, and here i' m talking about wages or pensions ,
he said .
his populist party, which was only created two years ago, is polling 15 percent, trailing just behind basescu' s allies, the just romania alliance, a new grouping of center - right parties .
we work 15 hours a day for 1, 000 lei (€225) a month, is that normal ?
said ioana stoian, a 27 - year - old vendor, wrapping a sweet cheese pastry .
diaconescu will do something. they (politicians) do nothing apart from steal and fill their pockets .
diaconescu' s party emerged
due to the disappointment of the electorate and romanian society toward unfulfilled promises made by president basescu and governments ,
said stelian tanase. but he predicted the party might not have the staying power to last .
the romanian director cristian mungiu has never won an academy award, but he is nonetheless part of oscar history. in 2008, his “4 months, 3 weeks and 2 days, ” a drama about an illegal abortion that had won top honors at the cannes film festival the previous spring, was considered a shoo - in for an oscar nomination, but ended up being snubbed by academy voters. that led to a change in the rules, taking some of the power to choose nominees away from voters and conferring it on a special committee .
now mr. mungiu, 44, is back and competing with a new film, “beyond the hills, ” that has again scored big at cannes, with awards for screenplay and the performances of its two lead actresses. set in an orthodox monastery, it examines the friendship of two women who grew up together in an orphanage but have taken strikingly different paths as adults. one has become a nun, finding inner peace, while the other has migrated to germany and is so deeply troubled that when she returns to visit her friend that she ends up being subjected to an exorcism. (it’s based very loosely on a 2005 case in which a romanian novice died in an exorcism. )
“beyond the hills” was shown at the new york film festival this fall, when mr. mungiu was in town and sat down for an interview, and it will close the festival making waves: new romanian cinema at lincoln center on wednesday. here are edited excerpts from that october conversation :
q. the real - life incident on which your film is based has been amply written about in the press and in two books by tatiana niculescu bran. what compelled you to go back to this episode ?
a. i knew about this story for a very long period, because this was in the press a lot, and i was preserving all the clips and i read the books. eventually i googled to see what the reaction of people was seven years later, only to discover that people were still so concerned and preoccupied and polarized by this that, apart from the books, i couldn’t find any balanced position about what happened .
for me it was very important to see all the things this story can reveal. and this is why i decided to make a film out of it. actually, the great difference between the books and what i did is the relationship between the girls, which never existed in reality but which gave me a reason for everything that happened .
q. for those two vital roles, you chose performers who had never acted in a film before, and they ended up sharing the best actress award at cannes. how did you achieve that ?
a. well, this is the crucial decision you need to make on a film like this: who are you going to work with? we had the kind of liberty we’ve never had before to just experiment with them, in the rehearsals and at the shooting. we rehearsed a lot during casting, read a lot, and i acted a lot for them, so i am giving them directly the tone of voice, the energy, the rhythm, the body language that i want. guidance, but not with words. i’m not telling them what to do, i show them how to do .
but it’s fair to say that by the end, i had adapted as much to them as they adapted to me. we did what was there in the script, but each time it wasn’t possible to get the dialogue exactly right, i was adapting what i wanted to do and editing the scene to what they could do. because you can’t push onto the actors something that does not belong to them .
q. for many foreigners, their main image of romania, to the extent they have one at all, is of a strange and superstitious place, with transylvania and vampires and all of that. are you worried that “beyond the hills” could reinforce those stereotypes ?
a. i hope the film will not be seen and interpreted like this. i think this is a local story speaking about things that are very general. what people are asked to do in the name of love for god, for example, this is the same in a lot of different religions. it’s the same mechanism, the way it works. sin and the way evil works into the world, the way violence evolves into people .
one of the things that really interested me to investigate was, how does violence find a place in this community? they are very mild people who start by sitting at the same table with this girl, and somehow a few days later they feel they are not fighting her, but demons inside her, and are entitled to make decisions about her life. how does this happen, practically? where is this moment? i don’t think this belongs to a society that is underdeveloped, i think this can be understood to speak about things in a more general way .
q. having seen three of your films, i have a sense that certain themes fascinate you, such as women in a situation of duress. is that fair to say ?
a. yes, but in “ tales from the golden age, ” there were also episodes that involved men in difficult situations. so it’s not exclusive. actually, i am much more interested in the situation than the character. i don’t start from characters. i need a situation that is very complex and layered and gives me the possibility to speak about a lot of things at the same time. i can’t handle very simple things. i always need to have first of all a strong conflict between some people, and a world behind. at first this was the world of the end of communism, and now it’s this religious world .
q. i also want to ask you about the oscars. you know, don’t you, that you’re already famous in oscar history ?
a. (laughs) yes, in a very strange sense. but i don’t think it’s fair to expect too much from the oscars for the kind of films i do. i hope that people will watch the film and have the patience to understand that there is a kind of cinema that is different but that is also cinema, and there’s nothing wrong with that .
a. i’m talking about the oscar committee and also the oscar voters. what’s important in cinema is to have options and allow spectators to say, “let’s see, i’m going to see this kind, ” to have this liberty, to be able to choose. but you can’t have a film which is going to be appreciated the same everywhere — in cannes, at the oscars, in romania. you just do the kind of cinema you are interested in, and then the film will have its fate, in different contexts with different people .
q. does winning prizes mean anything to you? because your films have done very well at cannes .
a. this has a very precise meaning. it helps the film to be seen, that is the benefit of awards. and the romanian new wave, this exists just because of cannes, honestly. we wouldn’t represent anything, even in romania for our spectators, unless there was this kind of appreciation. actually, in romania people haven’t seen my films a lot. but they appreciate the fact that i’m appreciated. this is it. i’m carrying the banner, like a football team and nadia comaneci, stuff like that .
cosmina stratan, left, and cristina flutur in “beyond the hills, ” directed by cristian mungiu .
ordinarily, a change of government in a balkan capital would be little cause for concern at the film society of lincoln center. but when you sponsor a romanian film festival, and your romanian partner comes under attack by the new authorities in bucharest, thus jeopardizing your joint undertaking, you may find yourself thrust into a political imbroglio .
the festival, making waves: new romanian cinema, will begin as scheduled on thursday night at lincoln center, running through next wednesday. but the film society has severed its connection to the romanian cultural institute, the festival’s original government - financed co - sponsor, in favor of collaboration with a new, private entity, called the romanian film initiative, run by the former director of the institute’s new york office .
in the last decade, the emergence of a romanian new wave has been one of the most startling developments in world cinema, with one film after another winning prizes at cannes and elsewhere. in new york a festival of romanian movies was first held in 2006 in tribeca under the auspices of the cultural institute, and last year was invited to move to lincoln center .
but the arrival of a new administration in bucharest “sent us back to square one, ” said corina suteu, who resigned in september, along with her deputy, oana radu, as director of the new york office of the romanian cultural institute. “the present authorities have gone back to a discourse on culture that is very archaic, and they do not consider new wave cinema as being ‘representative’ of romania. ”
at lincoln center, film programmers said there was no hesitation about continuing their partnership with ms. suteu and her associates and they opted not to explore the possibility of an officially sanctioned event .
“under this leadership, the cultural institute did incredible things to make the new romanian cinema visible in the united states, so there was never any question in our minds, ” said scott foundas, associate program director at the film society. “our feeling always was that we think very highly of these people as curators, have very similar taste in cinema and are very pleased to have them as part of the extended lincoln center family. ”
the government of prime minister victor ponta, which came to power this spring, is a seemingly unlikely coalition between former communists and a conservative party. in june it issued an emergency ordinance modifying the 2003 statute setting up the romanian cultural institute, which had previously reported directly to president traian basescu, mr. ponta’s political rival .
“it’s an ionesco - like government, ” said mihai chirilov, the artistic director of the film festival, referring to the romanian playwright who is considered a father of the theater of the absurd. “it’s a very unexpected combination that shows their only aim is power. ”
as a presence on the new york cultural scene since shortly after the fall of communism in 1989, the romanian cultural institute has not limited itself to promoting its national cinema. the institute has also helped bring romanian writers to the annual pen world voices literary festival, supported visual artists in their efforts to get their work shown locally, and collaborated on shows featuring romanian music, both classical composers like the pianist dinu lipatti and pop groups like timpuri noi .
in place of that longstanding emphasis on making romanian culture better known in the west, under the new emergency ordinance the institute’s primary task is “to uphold the identity” of romanians living abroad. the previous, outward - looking policy was condemned in the ordinance as “highly negative” because it “impairs on a permanent basis the feeling of belonging to the romanian nation in the case of those temporarily living in other countries. ”
the romanian director andrei ujica has made several critically praised films, including “videogram of a revolution” and “ the autobiography of nicolae ceausescu, ” shown at the new york festival in 2010, that examine the relationship between political power and media manipulation. in a telephone interview from berlin, where he teaches cinema, he described the new government policy as an “abusive change” and “anticultural. ”
“it’s a kind of attempt at a small cultural revolution, in a maoist meaning, but in a new form, coupled with the new tabloid culture that has become so strong in east european countries, ” he said. “that is a new and dangerous mixture, with a very rigid nationalist focus. ”
on the web site of mr. ponta, the government has denied any intention to seize control of the cultural apparatus or limit freedom of expression. “the decisions that have been adopted are meant only to build a more comprehensive democratic framework for the romanian cultural institute’s functioning and to redress the problems pertaining to its spending of public money, ” an official statement said .
with government financing ruled out, ms. suteu and her associates did what everyone does these days: they began a kickstarter campaign that raised $ 22, 000 from some 300 people. in other gestures of support, leading romanian artists, writers and film figures, both in the diaspora and back home, signed protest petitions and also contributed money, and the trust for mutual understanding, which promotes cultural and other exchanges between the united states and the former soviet bloc, supplied a $ 50, 000 grant .
the festival opens on thursday with “of snails and men, ” an absurdist comedy by tudor giurgiu, and will conclude with cristian mungiu’s religious drama “ beyond the hills, ” which won two awards at the cannes film festival this spring .
in between, the bill includes several works by promising new directors and a retrospective of the films of alexandru tatos, who died in 1990 and is considered a major influence on the new wave .
unusually, the program also includes two panel discussions, titled “creative freedom through cinema: romania and hungary, ” that will be linked with screenings on saturday and sunday. hungary, romania’s neighbor, is included in the discussion because the nationalist government there has been criticized as curbing freedom of expression .
“corina and oana have been very quick on their feet to make this happen, which i’m not sure everyone could do, ” mr. foundas said. “it was a very bold move on their part, and without skipping a beat, they have created an entity to protect the independence of this festival and to continue going forward in the way we want to see. ”
late american actor larry hagman, who died last week, came to romania in the 80' s, when the soap opera dallas, where hagman played the famous oil magnate j. r. ewing, was becoming popular in the then communist country as well .
the british newspaper sunday times recently published an article about hagman’s trip to romania in the 80' s and the money he received from the communist regime for letting them use his image on a billboard in bucharest .
larry hagman had told this secret to an american journalist, but asked him not to publish it while he was still alive. “hagman said he had no objection provided a bag filled with hard currency was left in the ladies’ lavatory of a government office for his wife to pick up the next day, ” according to the sunday times article bylined by john harlow. his wife indeed picked up the brown bag with money and the couple spent it fast .
in 2011, hagman said the soap opera dallas had a huge influence in international politics and that he was convinced that broadcasting the series in the 80' s in a communist country like romania could have been one of the triggers for the 1989 revolution which led to the fall of communism. the ceausescu regime agreed to broadcast the movie to show its people the bad ways of the west, but the plan backfired, hagman believed. romanians saw how life could be elsewhere in the world and ended up wanting to live that very life .
larry hagman died last friday at a hospital in dallas. he has been diagnosed with liver cancer 20 years ago and for the past year he had been fighting neck cancer, which stemmed from his initial liver disease. hagman, 81, was performing the role which made him famous around the world, j. r. ewing, in the soap - opera reboot for tnt .
“larry hagman was a giant, a larger - than - life personality whose iconic performance as j. r. ewing will endure as one of the most indelible in entertainment history. he truly loved portraying this globally recognized character, and he leaves a legacy of entertainment, generosity and grace, ” wrote warner bros in a statement .
having brilliantly documented the horror of stalin’s soviet terror machine in her pulitzer prize - ­winning “ gulag, ” anne applebaum now offers a bulky sequel, “iron curtain, ” about the brutal effort of that same machine to crush and colonize eastern europe in the first decade after world war ii. her evidence, once again drawn from archival research and some survivor interviews, is overwhelming and convincing. but the heart of her story is hardly news .
applebaum tracks the salami slicing as typically practiced in poland, hungary and germany, and serves up not only the beef but also the fat, vinegar and garlic in exhausting detail. she shows how the knives were sharpened before the war’s end in soviet training camps for east european communists, so that trusted agents could create and control secret police forces in each of the “liberated” nations. she shows how reliable operatives then took charge of all radio broadcasting, the era’s most powerful mass medium. and she demonstrates how the soviet stooges could then, with surprising speed, harass, persecute and finally ban all independent institutions, from youth groups and welfare agencies to schools, churches and rival political parties .
along the way, millions of germans, poles, ukrainians and hungarians were ruthlessly driven from their historic homes to satisfy soviet territorial ambitions. millions more were deemed opponents and beaten, imprisoned or hauled off to hard labor in siberia. in stalin’s paranoid sphere, not even total control of economic and cultural life was sufficient. to complete the terror, he purged even the communist leaders of each satellite regime, accusing them of treason and parading them as they made humiliating confessions .
it is good to be reminded of these sordid events, now that more archives are accessible and some witnesses remain alive to recall the horror. still, why should we be consuming such a mass of detail more than half a century later ?
in her introduction applebaum says it is important to remember that “historically, there were regimes that aspired to total control, ” not only of the organs of state but also of human nature itself. we should be studying how totalitarianism worked, she maintains, because “we can’t be certain that mobile phones, the internet and satellite photographs won’t eventually become tools of control” in other places. well, vladimir putin may yet make her a prophet, but so far this century, technology has become a welcome defense against tyranny .
more relevant to contemporary discussion are some themes applebaum evokes along the way but never develops. she begins her tale by insisting that the united states and britain, having promised the east europeans a democratic future, quickly abandoned them to soviet domination. true enough. yet what were the west’s alternatives? the door to europe was left open for stalin in 1945 because the americans were rapidly redeploying to fight japan and eager to enlist stalin in the pacific war. applebaum does not speculate about how soviet colonization might have been forestalled or what methods of intervention for freedom we should be applying now in cuba or north korea, syria or china .
similarly, she barely touches on the contrary claims of some historians that it was not the west’s appeasement but rather hostility against the soviet union that provoked stalin’s aggressive responses. these scholars accuse the united states of having triggered the cold war, thus baiting stalin into taking crude defensive countermeasures. applebaum’s evidence provides a telling rebuttal to those “revisionist” theories, but she never really engages them .
most conspicuously missing is any sustained examination of soviet motives for the rape of eastern europe. what did the russians want? revenge against germany and its allies? compensation for their enormous loss of life and suffering in the war and the spoils due a victor? was the domination of neighboring states a wildly arrogant policy of defense so that no conqueror could ever again follow napoleon and hitler to moscow? or was it a revival of russia’s imperial desire to annex at least half of poland, to secure a rebellious ukraine and to incorporate the baltic states and various adjacent balkan lands ?
applebaum’s overriding interest is in stalin’s deranged tyranny, which aggravated the postwar horror inside the soviet union at the same time that it was being slavishly imitated by his east european henchmen until his death in 1953. yet stalin’s successors were just as intent on preserving their dominion. why? applebaum contends that stalin, having once postponed the soviet dream of igniting an international communist revolution, “was preparing to relaunch it” in 1944 as the red army rolled westward. but that passing comment — and debatable premise—is all she offers to explain soviet policy .
while her documentation of the soviet takeover is impressive, at this late date fewer facts and more analysis would have been welcome. the seeds of the communists’ ultimate failure in east europe are strewed throughout her book, but with little explanation. she shows how poorly the communist regimes provided for their consumers and how they alienated the workers in whose name they governed. why? and does not this subject require lengthy discussion of how communism collided with the deeply rooted nationalisms of the region? applebaum incisively demonstrates the moral confusion that haunted roman catholic leaders and other opponents of the communist regimes, some openly hostile, some reluctantly cooperative, many simply passive. but how should we evaluate their choices ?
“iron curtain” is not a full history of the iron curtain because of applebaum’s decision to end her history in 1956, just as poles and hungarians openly rebelled against soviet control. there then followed a 30 - year effort in the kremlin to stabilize and reform all communist societies, but the east europeans remained restive, held captive only by soviet armed might. the colonization became a huge burden on the soviet economy, and the lures of western democracy and economic achievement produced corrosive holes in that curtain. finally, when mikhail gorbachev refused to shoot to preserve his costly empire, the curtain collapsed altogether and dragged down the soviet center as well .
applebaum rightly concludes, long before that climax, that the totalitarian spell could never be sustained for long. but she declines to generalize about the reasons or the defenses we all may need against other totalitarian threats. instead, what she has given us is a concrete and sad record that honors the memory of the millions who were slaughtered, tortured and suppressed in the mad pursuit of totality .
max frankel, former executive editor of the times, reported for many years from moscow and eastern europe .
saul steinberg' s
untitled
( 1948), ink on paper .
saul steinberg, the pre - eminent cartoonist of the 20th century, specialized in high - i. q. humor. in an age when cartoons were populated by henpecked husbands and conniving wives in hair curlers, he found his inspiration in the unlikely realm of philosophical inquiry. long associated with the new yorker, he once filled four pages of the magazine with a field of hand - drawn question marks .
his best - known work was perhaps too famous. he complained about being known as “the man who did that poster. ” he was referring, of course, to “view of the world from 9th avenue, ” his myopic, manhattan - centric map that was scaled and skewed to capture the interior cartography of new yorkers, where places like kansas city and china do not exist except as dots in the irrelevant beyond .
deirdre bair, in her gripping and revelatory “saul steinberg: a biography, ” redraws the world map, pushing ninth avenue into the background and foregrounding the view from bucharest. steinberg spent his first 19 years in romania, a primitive and repugnant “sewer” of a country, as he liked to say. he was among the waves of jewish refugees who fled to safety here during world war ii. it says something about his ethnic - tinged sense of humor that he once described picasso, after visiting him at his villa outside cannes, as “an old jewish man in the florida sun—all torso and shorts. ”
who was saul steinberg? his acquaintances thought of him as an elegant dandy who seemed catlike in his refinement. in his prime, he lived on the upper east side of manhattan, dined out most every night and held forth at dinner parties with piquant erudition and wit. but behind the thick glasses and mandarin mask lay a haunted figure, a fearful man who visited indignities upon himself and those around him. as bair reveals, his love life was a string of infidelities, and crabbiness was his default mood. he eschewed interviews and spurned the company of very young children .
he was born in 1914, at a time when romanian jews were still deemed unworthy of the rights of citizenship by their own government. his father, moritz, earned his living designing and manufacturing cardboard boxes, and the family’s circumstances became precarious with the rise of the ultraright iron guard. everywhere he turned, the young steinberg was faced with the sting of exclusion and state - sanctioned insult. he claimed, only half - jokingly, that “even dogs gazed at us reproachfully. ”
his high school diploma stigmatized him as a jew, a person professing the “mosaic” faith, which gave him a theme. it allowed him to see how a document that purports to confer identity can obliterate identity. in later life, his artistic output included a series of humorous diplomas and certificates. in fact, much of his work appropriated and satirized the visual conventions of government documents, with their seals and rubber stamps, their flowery signatures, their clumps of text that no one ever read. a government document, as much as any fine - art print, is made from ink on paper. this is the medium on which steinberg staked his career and gained his citizenship in the art world .
he was seldom without a suitcase. after studying architecture in milan, he sailed to new york in june 1941 by way of lisbon. he arrived at ellis island, only to be refused entry because the quota for romanian refugees had been surpassed. he was put on another ship, this one to the dominican republic, where he slept beneath mosquito netting and waited his turn to enter the united states. a year later, he finally got to new york and, after a euphoric interlude exploring manhattan, received an inconvenient assignment: the united states navy was sending him to china.
andreea bibiri ( born may 3 , 1975 ) is a romanian film and stage actress , dubber and theatre director . she graduated from the caragiale academy of theatrical arts and cinematography in 1996 and has won two uniter prize awards as an actress . she is best known outside romania for the role of ana , in tudor giurgiu 's " of snails and men " . 
andreea bibiri (born may 3, 1975) is a romanian film and stage actress, dubber and theatre director. she graduated from the caragiale academy of theatrical arts and cinematography in 1996 and has won two uniter prize awards as an actress. she is best known outside romania for the role of ana, in tudor giurgiu's " of snails and men ".
andreea bibiri (born may 3, 1975) is a romanian film and stage actress, dubber and theatre director. she graduated from the caragiale academy of theatrical arts and cinematography in 1996 and has won two uniter prize awards as an actress. she is best known outside romania for the role of ana, in tudor giurgiu's " of snails and men ".