#loteanu

Emil Lotyanu, the film director of A Hunting Accident, once said that the waltz on the lake shore was the film's living nerve, 'the finiest texture of sounds, woven of dreams and realities, of cravings and forebodings...' A human drama was told by the music without words. If one tried to translate this waltz into the language of colours, he would most likely do it in light, transparent, energetic and free strokes of pastel shades. Doga's music is impressionistic owing to its unsteady and everchanging nature. It is poetic, translucent, it does not move, but it goes in a fluent and gracious flow.

The waltz creates a visual image of the lake waves, going round in circles. These circles are getting wider and wider in the space, sounding of despair and ruin to Olga, lonely and proud, dreaming of happiness. The music provides new implications for the drama, it makes the characters more subtle and profound. And it is not seldom that Doga's music has become an integral part of action, especially in Lotyanu films.