Hermann (the tentative title of the film) is a film project that began seven years ago. The film, now in post-production, was submitted by the Junii Society in collaboration with Artmark in hopes of raising funds to complete this phase.
In 2011, director and producer of the film Victoria Baltaj participated in a symposium organized by the Institute for the Investigation of the Crimes of Communism in Ramneku Surat. The meeting is devoted to one of the most frightening social experiments of the last century: the re-education of political prisoners. This experience resulted in an independent project that involved three hundred actors and doubled the number of people behind the camera.
It would have been difficult for a project like this (financed by the director’s personal funds and donations) to be (only) an art project, especially since it emerges against a backdrop of near-public ignorance and forgetfulness. History lessons in school do not devote much time to this topic, perhaps because it is painful and affects the students emotionally, perhaps because of humility or simply because they consider it strange and irrelevant.
Books devoted to the Petite phenomenon have not been found and the copies that do have a limited circulation. So, even if he has artistic ambitions, what pervades Victoria Beltag’s film is historical reality and a panoramic desire to identify the viewer with the human tragedy of the characters and, implicitly, with the society in which such atrocities fit in. So the movie is basically a file Re-enactment, a semi-literal reconstruction of the sequence of events leading up to the emergence of Hell in Pitesti, a possible example of the torture and death manufacturing process that frightened even the communist leaders of the time. And let’s not forget that in the 1950s, daily records of the deaths of “inner enemies” were smashed through communist prisons.
Oblivion is a contemporary disease, and at the same time a great danger for history to repeat itself in a loop, even if the naive thinks it is going forward. Today’s naive themselves are the result of successful social engineering. Many of the imbalances in Roman society are a direct result of the absence of a real process of communism. Only in this way can the communist mentality survive at most social levels. Everyday reality confronts us with a subtle perversion of moral values, with an increase in the volume of memories generated by brainwashing memories (memories are said to be harmful to health, it is said, to be eliminated by forgetting, not by mass exorcisms). Poor education, one-dimensional people captivated by a life without a horizon collectively produce what Eugene Orcano, a prophet and teacher of re-education in Pitesti, got in a test tube.
Therefore, Victoriei Baltag is one attempt to explain how a tragic social experiment like that established in the early 1950s outside the walls of Petiti Prison can be applied to society at large, turning the country into a laboratory and some Romanians in the first versions of a new man. The film hides under the guise of fiction, as if out of humility to the cruelty of human nature and Roman reality, the mechanism that led to Hermann Moraro (also known as Eugene Orcano) being transformed from a fundamentalist legionnaire into a loyal Communist Party member and ardent supporter of human transformation through torture. and social engineering and ideological rehabilitation. In a tragic parody, Orcano himself implemented this mechanism of transformation (know yourself, in your all-brutal nature) in a prison circus, within an experimental program overseen by Nikolsky, Security and of course PT.
Perhaps to those who haven’t read Goma or Ironca’s books, the whole script seems to be an excessive behavior of nature taken to the extreme, and detached from Pasolini’s films. The Italian director had made public humiliation, torture, humiliation, eschatology, polygraphy, sex and nudity themes of reflection in his films. Understandably, like HermannPasolini’s films are the result of the experience of a century spent between the ends of the gas chambers and the Gulag. Without further comparison, it must be said that Pasolini, like the new Italian directors (and later, the Danish directors of the Dogma 95 movement) used real voice recorders, and novice actors (amateurs or ordinary people.), Camera shots on the shoulder, as if animated. Deliberately, he associates them with fixed shots (as in the scene of the Crucifixion and the Inverted Ritual, Satanic) and an atypical direction with plenty of natural light and unexpected or customized viewing angles (thus defining the scenes). With his scenes, often with the main hero). Victoria is reminiscent of The Crown, from this point of view but also because it is an attempt to deconstruct a social experiment, Stanford Prison Experiment (2015), in fact the Western version of another social experiment went awry causing fatal damage.
The Pitesti phenomenon was an attempt to apply Makarenko’s methods in communist prisons, to brainwash detainees who, after re-education, had to expose networks of enemies and conduct their own self-criticism (in fact, self-destruction). Methods ranged from physical torture (beating, nail snatching, urination) to moral and spiritual torture (detainees are forced to simulate liturgical rites, and the cross is replaced with a wooden rod), in order to humiliate the detainee, and to degrade, and frustrate, were abolished. Orcano was the one whose relatives started this way, devastated by fear and terror, in the prison from Suceava where he arrived after an unexpected arrest and, apparently, for no reason, because Orkano/Hermann was a legionnaire who converted to communism and is said to have been a security informant before arrest him. The memory of the Paradise life in the past makes it the most important factor of evil in the hell of prisons. In the communist food chain he was the executioner without whom the Red Terror could not exist. Turcanu himself was an experiment for party crooks who wanted to realize, without staining their clothes, what the maximum endurance of a man is, and what and how much you must keep him taut in an irrevocably bound to his heart. In other words, the laws of natural selection in extreme regions are enforced in prison hells. The Fear Inspired by Hermann/Orcano (and complete the systemwho became one of the iconic characters in the film) is deeply ingrained in people’s souls, so deep that it suffers from it and its terrifying descendants.
An attempt to genetically modify humans to make them survive in the new age has succeeded: the human genome appears to have been altered and only a long, painful exorcism can heal us. Unfortunately, people tend to choose the right solutions: forgetting seems to be the most effective antidote. The prison in Betsti is no longer functioning and is about to be demolished, which will bring the imagination closer and more films like Hermann and wrote like Emotions after Pitesti Paul Juma. It would then be easy to say that it was all just artistic imagination. Beyond indifference, it is no wonder that the Red Terror has become the Red Plague. movie like Hermann Pull up our sleeves to look at the whole picture. We can only do that if we look at our history as a mirror.