Dante Remus Lazarescu
(Ion Fiscuteanu), a 62-year old retired engineer, is brought to an emergency
room by ambulance complaining of stomach and head pains. It is a night
in which Bucharest’s hospitals are filled with survivors from a bus accident.
Berated by haughty “professionals” for not taking good care of himself,
Lazarescu is shunted from hospital to hospital as we watch his condition
slowly deteriorate. Romanian director Cristi Puiu’s Kafkaesque masterpiece,
The Death of Mr. Lazarescu dramatizes the deplorable conditions in Bucharest’s
emergency rooms where overworked and underpaid health care workers show
callous indifference to their patients instead of concern and compassion.
The film not only indicts a specific healthcare system but also a more
universal indifference to suffering.
Since his wife died eight
years ago and his married daughter Bianca moved to Toronto, Canada, Lazarescu
has lived alone in a small, dirty apartment in Bucharest, Romania. His
only companions are three flea-bitten cats and a suspicious home grown
brew called Mastropol. When he starts to feel pain in his stomach and his
temples, he ascribes it to a reaction to the ulcer surgery he had fourteen
years ago and takes aspirin and other painkillers such as Diclofenac but
they only cause him to vomit. Seeking the help of neighbors Miki and Sandu
Sterian (Dana Dogaru, Doru Ana), he gets only a lecture on his drinking
habits, the smell of his apartment, and an offer to eat some leftover Moussaka.
When he begins to vomit
blood, however, he calls for an ambulance but it takes more than a half
hour to arrive. Weakened by his illness, he falls into his bathtub. When
52-year old nurse Mioara Avram (Luminta Gheorghiu) finally shows up, her
lack of personal concern is palpable. She too blames his illness on the
alcohol she smells on his breath but, after examining him, suspects that
he has colon cancer and asks the Sterians to accompany him to the hospital
but both refuse. During the long night that follows, however, she remains
with him and is the closest thing he has to a friend. Lazarescu is taken
to a series of hospitals but is callously dismissed as an old drunk by
doctors and hospital staff who are exhausted after a night of treating
victims of the bus crash.
One young doctor asks
him, “Did I put the bottle in your hand, you pig?” Another offers the idea
that “his liver is as big as the parliament house”. When the patient tells
a surgeon his head hurts, the surgeon gives the patient a pat on the head
and exclaims: “Good, it means you have one!” The film has been called a
black comedy but the situations we see are more absurd than comedic. Doctors
and nurses chat about irrelevancies such as a cell phone that will not
charge and argue with the paramedic who brought him as to priorities and
who has the highest authority.
As the old man who the
doctors arrogantly call “pops” is given one test after another, we are
silent witnesses to his inevitable decline. We want to scream at the screen
as Lazarescu’s gradually loses his ability to walk and to control his bladder
but we know that his fate has been sealed. Finally at 4:00 am, after being
prepped for surgery to relieve a blood clot on his brain, a surgery that
should have taken place hours before, Lazarescu sinks into incoherence
and finally unconsciousness. As he goes gently into that good night, we
alone are left to rage against the dying of the light. Like the dying priest
in Bernanos' Diary of a Country Priest, we learn again what it means to
be human and we know that the meek will inherit the earth.
GRADE: A
Howard
Schumann