Mira (from Mirabel) is a conjunction of cultural movements. The story is based on the book "De teloorgang van de waterhoek" (The decay of the water edge), a novel by the well-known Flamish writer Stijn Streuvels. Streuvels belongs to the group of artists, who in the early twentieth century developed a Flamish literature in order to resist the French cultural imperialism. This is reflected clearly in the narrative, which describes a small rural Flamish community. The first scene shows the slaughter of a pig, which is saying a good deal. Ponder about this! The community, and the mayor more than the others, feels threatened by the construction of a new bridge, which will connect their village to the big Belgian cities. They try to sabotage its construction, and even murder some of the workers. Joke: a man walks into a field containing a bull. He asks the farmer: "Is this bull safe?" "He is as safe as can be", replies the farmer, "but I can't say the same for you". In the end of course progress can not be stopped. The film script was written by Hugo Claus, at the time (1971) an illustrious Flamish writer. In order to open the Dutch film market, the film makers hired the Dutch director Fons Rademakers, a respected professional who in 1976 would produce the impressive "Max Havelaar". In addition the makers contracted the Dutch actress Willeke van Ammelrooy for the main character. She had already become one of the notorious Dutch sexspots (together with Monique van de Ven, Sylvia Kristel), who emerged in the wake of the women's movement for sexual liberation. The sex is so good that even the neighbors have a cigarette. This combination makes Mira very much a symbol of sensuality and aversion to authority. Claus and Van Ammelrooy represent the search for pleasure and delight in a world of abundance. Don't come knocking if the car is rocking. Unfortunately the psychedelic culture of the sixties is hardly reconcilable with the primitive peasant's culture in Streuvels works. He tried to create sympathy and empathy for groups, who suffer from the crushing of their culture and way of life. These two societies are light years apart, and difficult to project on the same screen. To me the result looks rather unbalanced. The existential disorders of the peasants are transformed into the boyish happenings of the students and hippie movement. I find the mutilation of Streuvels' world unpleasant. But for the sixties and seventies freaks Mira may well remain a milestone. It is not a complete failure, some parts are missing (joke). If you enjoy Claus and Van Ammelrooy, then please watch their other films.
