Call me a heathen, but 20 minutes into Theo Angelopoulos’ ”masterpiece” Ulysses’ Gaze I was popping No-Doz. This Bergman wannabe stars a miscast Harvey Keitel as an angst-ridden director in search of three reels of undeveloped, lost film shot in 1905 Eastern Europe. The pseudo-poetic dialogue is so stilted and awkward, not even Olivier could have saved the day. But the third hour of the journey, set in Sarajevo, is truly mesmerizing. A TV screen doesn’t do justice to the director’s sweeping, languorous vision — watching his war-torn Balkans on video is like looking at Picasso’s Guernica on a laptop. C
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