Directing
Stelios Tatasopoulos (1908 – 13 July 2000) was a Greek film director and producer. He contributed to over twenty films from 1932 to 1972 including the 1932 film Social Decay.
In 1821, in Cinema, he records the cinematic representations of the Revolution from the first decades of the 20th century. until the present day. Despite the fact that the Revolution of 1821 constitutes the founding act of the modern Greek state, as a subject matter it is underrepresented in national film production. This is one of the points on which the research looks, which simultaneously examines the periods of concentration of films on the subject of the Revolution or, respectively, the periods of its collective silence. The purpose of the documentary is to study the ideological discourse and the cinematic language of the films with the theme of 1821, in order to highlight the function of the cinema as a carrier of Public History and as a factor in shaping the collective historical consciousness.
A poor university student, Ntinos Vristhenis, has abandoned his studies due to financial difficulties and is searching for a job. He is hired as an actor in a troupe, where he meets and falls in love with the leading actress. When she yields to a businessman who promises her a bright future, Nikos, feeling disappointed, leaves the theater. Poverty forces him to join the proletariat and become a tobacco worker in order to make ends meet.
Two poor roommates, Mitros and Mitrousis, struggle to survive by doing odd jobs, from the neighborhood kiosk to the restaurant. They try to deceive their creditors by selling them promises of a hair loss remedy they are manufacturing. However, when their creditors realize that they have been defrauded, they pursue them, unaware that an ingenious industrialist is perfecting their medicine.
The heroic Souli have managed to repel the asker of Ali Pasha and his brave Malamos Dragon sends his mother to ask her hand Maro, niece of the captain Tzavelena. She ignores the hatred that separated years both Families and agrees to give her niece, but to know that Maro loves Kitsos Botsari. When the son of Fotos Tzavellas engage Maro with Kitsos, the Malamos drowns his pain and unleashes his rage against the Turks, who are trying again to get the Souli.
Philemon and Pausanias are two wretches, friends and roommates in the same chamber, which are constantly struggling to pay off their debts mainly rents, because the landlady is very grumpy. Their agarmposyni, however, does not help them to steriosoun in some work: either in a gas station or in antique or as waiters at a nightclub where she sings the amiable Michael, a poor student who lives in the same yard and is in love with Soula. But Uncle Soula, the Menios, wants to marry a rich kid, Tasos. She, however, also loves Michael manages to cajolery to obtain the consent of and become a successful singer in his side.
Unable to hold down a job for long, two unlucky and perpetually broke friends overhear their boss' plans to give away in marriage his sister, who is secretly in love with his poor employee. Can the clumsy duo avert this loveless union?
Two friends from the province dream of going to Athens. On board the train, however, two smugglers are being asked and offered to hire them as waiters in the nightclub as a showcase.