The Wretches are Still Singing (1979)

While many Greek films have found international success on the festival circuit, Greek cinema does perhaps feel a bit insular to an outsider looking in. When the Greek government began to subsidize films, it opened up a range of possibilities as not only did it aid in financing films but it helped Greek films to be seen outside the country. Naturally politics reared its ugly head as films with government subsidies were expected to pander so it should come as no surprise that Nikos Nikolaidis was constantly at odds with the Greek Film Commission who treated him more or less like a pariah, giving him the short end of the stick when it came to funding and in some cases making him wait to actually get what little money they were prepared to give. Although there were festivals in Greece that were always open to Nikolaidis' films, when it came to international showings, the GFC were determined to keep Nikolaidis' work hidden, even going so far as lying to festival organizers claiming that a film wasn't completed or not good enough to be shown. It was with his second film, The Wretches are Still Singing, where Nikolaidis' not only began to draw the ire of the GFC, but it also saw him continuing certain ideas born in his debut feature Euridice BA 2037 (1975) as well as give way to another loose trilogy.

A sarcastic description of The Wretches are Still Singing would be The Big Chill (1983) for psychopaths. A group of friends who affectionately refer to themselves as “The Wretches”, all products of the 1950's, reunite for an annual gathering at the home of Alkis, the defacto leader of the gang. Once a drummer, Alkis now passes the time by murdering young woman, all the while pining for his long lost love Vera. Konstantinos and Hristos, known to the group as “Fatty” soon arrive, the former wandering through life aimlessly, the later stuck in a dead end marriage and finally Rita, the one lone female of the group who recently escaped from a mental asylum to join to festivities. As the gang desperately tries to relive their youth in increasingly sociopathic ways, the more the weight of the modern world seems to weigh them down until the realization that times have truly changed leads some of the friends to a crossroads in life and inevitable tragedy for others.

The Wretches are Still Singing (Ta kourelia tragoudane akoma..., Τα Κουρέλια Τραγουδάνε Ακόμα...) finds Nikolaidis in two very different moods. As morose as it is brutally funny, the film marks the first of Nikolaidis examinations of the lives of those who dwell on the fringes of Greek society, giving an entirely new meaning to the cliché “You can't go home again”. As a serious drama, the film is a success simply based on Nikolaidis' presentation of the characters, making it clear that they've been unable to adapt to the changes in society and despite most of the gang being utterly insane, driven to murder and rape, their discontent with their lives does begin to weigh heavily. The genre elements that were present in Euridice BA 2017 become slightly more pronounced here, with the ghost of the gangs past hovering over the proceedings, sometimes literally with the presence of a surrogate Vera, who, despite clearly being show dead throughout parts of the film, makes herself known to certain characters. Again, the film is also morbidly hilarious, Nikolaidis' bizarre sense of humor at the fore with some hysterically nonchalant reactions to murder, with the gang freely acknowledging the open grave in Alkis' backyard, one even posing for pictures with a plastic-wrapped victim. The film is also the first showcase for Nikolaidis' brilliant musical tastes, with the era the gang is attempting to relive giving way to a phenomenal soundtrack consisting of many a sold gold oldie from the early days of rock, pop and doo-wop.

While discussing the origins of the film, Nikolaidis describes the generation that was a product of the 1950's in Greece as “A generation which was literally gagged. And its no coincidence that from the 50's generation we have nothing special in cinema or literature... It is a generation that did not believe in politics but only in friendship, love and independent opinion. And this film was filmed in a period of intense political involvement.” Nikolaidis labeled the film “A film that denies politics” so it was only natural that politics interfere with the film. As Nikolaidis recalls the absurdity surrounding controversy the film caused that became a source of embarrassment for the party in power, “The film’s release in Greece was banned during a right wing political regime, because communist film critics used the terms: “A requiem for revolutionaries” and “a dangerous film” to describe the movie. After the ban, the communists attacked the government accusing it of censorship. Then, the government allowed its viewing. What do you make of that?” A crucial title in Nikolaidis' filmography, The Wretches are Still Singing is a key example of the singular personality that defines Nikolaidis' work with its attitude, surreal humor, music and ruminations on society going on to become calling cards for Nikolaidis' subsequent works, its title even becoming a rallying cry for some. “It all started then that cretin Perry Como sang “Glendora...”