The world premiere of the new film by Yannis Smaragdis ‘Kapodistrias’ in Astoria, NY on November 29th was newsworthy both for the Greek-American Community, as well as Hellenism worldwide. The historical drama focuses on the life of modern Greece’s first Governor, Ioannis Kapodistrias, placing particular emphasis on his characteristic spirit of self-sacrifice and selfless paradigm.
Although the film recounts the story of a real historical personage, it does not limit itself to a biographical account of the protagonist’s life. Through the ‘seventh art’, the director attempts to invite-challenge the audience to forge a personal relationship with one of modern Hellenism’s most seminal, yet marginalized figures to more clearly reveal his vision for the newly reborn Greek state.
Throughout the movie, viewers follow the protagonist’s continual uphill struggle to overcome the challenges set before him, beginning with his near-death experience in a horse accident on his native island of Corfu, where his survival was attributed to a miracle and attributed to Divine Providence. Kapodistrias made a name for himself as a diplomat, when he helped halt the Austrian Empire’s takeover of Switzerland. His successful maneuvering set the stage for a lifelong clash with the powerful and ultra-conservative Prince Metternich. Kapodistrias’ strategy secured Switzerland’s unity and neutrality, while laying the groundwork for its federal constitution, cantons, and hallmark direct democracy. Other successes included preserving French state unity at the Congress of Vienna, earning him a promotion as Russia’s Foreign Minister.
However, his greatest triumph was his contribution to the liberation of his Greek homeland, assisting in what can arguably be considered the most important revolution against foreign tyranny in the 19th century. Dating back to his tenure as Russia’s top diplomat and his interaction with the organizers of the Greek revolutionary struggle (some even consider him to be the ‘Aoratos Arche’ or ‘Invisible Authority’ of the ‘Philiki Etaireia’), and later as the newly-established state’s first Governor, Kapodistria’s role in Greece’s National Rebirth was paramount.
Perhaps his greatest contribution was his spirit and ethos, which threatened the cynical European establishment. In Greece, his insistence on maintaining the nation’s sovereignty and placing it above any personal or clientelist interests earned him the deep love and respect of the people, but drew the ire of the Great Powers and entrenched Greek landowners and chieftains known as ‘kotzabasides’. Ultimately, this enmity cost him his life, with the Great Powers acting as the moral accomplices behind his assassination, which robbed Greece not only of a charismatic leader, but also denied the nation of the prospect of following the independent path of integrity he had envisioned and relegated it to the fate of an other-illuminated protectorate.
However, it seems that Kapodistrias was deemed a threat not only by the establishment of his era, but also from present-day forces. Notably, Greece’s National Center for Cinematography, which funds all kinds of film productions, refused to fund this project. Local gatekeepers also blocked his access to EU grants for creative projects. There are even allegations that Mr. Smaragdis faced death threats in order to dissuade him from completing the film. Most nations boast over their founding fathers and do whatever they can to honor them. This begs the question why an historical figure as successful as Kapodistrias, who is honored in countries like Switzerland and Russia for his contributions, face such ingratitude in his homeland?
Responsible state agencies’ refusal to finance the film ended up backfiring, considering that it brought together external stakeholders – including the Greeks of the Diaspora – to see this project through. This, in itself, makes for an important story and represents a positive development for the Diaspora, which once again found itself shaping events in Greece, as opposed to merely reacting to them. Moreover, it ironically served as an unexpected source of publicity, generating interest among the people, who naturally question why the film’s content was met with such opposition by the very state agencies that should be promoting it.
The film debuts in Greece on Christmas, and will hopefully soon play in the U.S. and other centers of the Diaspora. The voice of the people will serve as the finest justification for the director’s work, but more importantly, for the historic memory of Kapodistrias, who is often referred to as “the saint of Greek politics” for his martyrdom.
The year 2026 marks the 250th anniversary of his birth, which will likely draw renewed historical attention to his life and legacy. As is characteristic of all great figures, Kapodistrias’ benefices to his people will not end with the conclusion of his ephemeral life. Centuries later, they just may possess the dynamism to continue to unite, inspire, and serve as a vision of not only what Greece could have been, but what it could still become.
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