The following paragraphs contain SPOILERS. In "An American Rhapsody" there is no apparent climax (as some critics have been eager to point out). And rightly so, I think. I suppose Suzanne is the defined protagonist - the story is autobiographical, and told from Suzanne's point of view. But each of the other characters could justifiably claim that nebulous title. Certainly, while there are many conflicts and powerful dramatic moments; and while, sadly, Suzanne must make a choice, there is no wrong, anti-protagonist option. Each opposing choice is as right or wrong as the other. So in the end there is no emotional moment of truth that proclaims itself. Her decision is uncomplicated, and stated with a simplicity that defies conventional dramatic practices; one is stunned by how quickly that simple moment of truth passes.
(SPOILERS)In the period of Hungary's futile battle for independence from the repressive communist yoke, Margit and Peter, along with their young daughter Maria, make their run for freedom. The dangers for their baby, Suzanne, are too great, so the terrible decision is made to leave her behind with her grandmother, who in turn must pass the child over to a good, dependable rural couple - only moments before she herself is arrested and taken to prison. For six years Suzanne lives an idyllic life with her loving surrogate parents. Finally, Margit and Peter are successful in their never-ending efforts a get their baby back with them in America. At this point, although unrecognized by all concerned, the six year old Suzanne meets her first betrayal. She was told she was coming to America for a visit, but finds out soon enough that it's to be her permanent home. There are moments of frustrated rebellion for the child, until that poignant scene in the park when her gentle, loving father promises that when she's older if she still wants to, he'll let her visit her other "parents" in Hungary.
(SPOILERS)Ten years later, sixteen year old Suzanne still savors her memories of and mementos from that early idyllic life in Hungary. But she is also thoroughly "Americanized." She smokes (heck, back then darn near everybody smoked); she hangs around with the gang; and, reflecting her adolescent hormones, she's got a guy - all normal teenage behaviors that frighten her mother and lead to several typical parent-child arguments. But the panicked mother takes a major step beyond "typical" - leading to a frightening and memorable scene. (SPOILER)Suzanne wakes up to find that her mother has had bars put on her window - the image of the shocked Suzanne looking out through the bars is emotionally staggering to watch. Her mother has also put a latch on the bedroom door that can only be opened from the outside. Effectively, her mother has made her daughter a prisoner, just as she felt she was back in Hungary. And Suzanne strikes out for freedom as dramatically as her mother did. As a result, when she asks her father to keep his long-ago promise, he realizes he must give her a chance to revisit her "family" back in Hungary.
(SPOILERS)Back in Hungary she finds the love between her and them as strong as ever. But life there isn't the same as her memories - and she also is different. And her understanding of her real mother's motivations is changed. So she has that heart-rending decision to make between people she loves and people she loves. And it's that decision that slips by without fanfare. Which is as it should be. It fits. Eva Gardos was not giving us a conclusion so revolutionary as to call for dramatic scenes of introspection or indecision or conflict. Only one factor in the end moved Suzanne, and she spoke it; and that was that.
The cast was outstanding. Natassja Kinski's Margit was deeply affecting. Scarlett Johansson proved with her sensitive, true-to-life portrayal of Suzanne that her earlier moving reading of the role of Manny in "Manny and Lo" was no accident. Scarlett is among the best in the business. Six year old Kelly Endresz-Banlaki played the conflicted, confused, and betrayed young Suzanne with stunning depth.
Eva Gardos has moved the art of cinema into a new and more profound dimension.
(SPOILERS)In the period of Hungary's futile battle for independence from the repressive communist yoke, Margit and Peter, along with their young daughter Maria, make their run for freedom. The dangers for their baby, Suzanne, are too great, so the terrible decision is made to leave her behind with her grandmother, who in turn must pass the child over to a good, dependable rural couple - only moments before she herself is arrested and taken to prison. For six years Suzanne lives an idyllic life with her loving surrogate parents. Finally, Margit and Peter are successful in their never-ending efforts a get their baby back with them in America. At this point, although unrecognized by all concerned, the six year old Suzanne meets her first betrayal. She was told she was coming to America for a visit, but finds out soon enough that it's to be her permanent home. There are moments of frustrated rebellion for the child, until that poignant scene in the park when her gentle, loving father promises that when she's older if she still wants to, he'll let her visit her other "parents" in Hungary.
(SPOILERS)Ten years later, sixteen year old Suzanne still savors her memories of and mementos from that early idyllic life in Hungary. But she is also thoroughly "Americanized." She smokes (heck, back then darn near everybody smoked); she hangs around with the gang; and, reflecting her adolescent hormones, she's got a guy - all normal teenage behaviors that frighten her mother and lead to several typical parent-child arguments. But the panicked mother takes a major step beyond "typical" - leading to a frightening and memorable scene. (SPOILER)Suzanne wakes up to find that her mother has had bars put on her window - the image of the shocked Suzanne looking out through the bars is emotionally staggering to watch. Her mother has also put a latch on the bedroom door that can only be opened from the outside. Effectively, her mother has made her daughter a prisoner, just as she felt she was back in Hungary. And Suzanne strikes out for freedom as dramatically as her mother did. As a result, when she asks her father to keep his long-ago promise, he realizes he must give her a chance to revisit her "family" back in Hungary.
(SPOILERS)Back in Hungary she finds the love between her and them as strong as ever. But life there isn't the same as her memories - and she also is different. And her understanding of her real mother's motivations is changed. So she has that heart-rending decision to make between people she loves and people she loves. And it's that decision that slips by without fanfare. Which is as it should be. It fits. Eva Gardos was not giving us a conclusion so revolutionary as to call for dramatic scenes of introspection or indecision or conflict. Only one factor in the end moved Suzanne, and she spoke it; and that was that.
The cast was outstanding. Natassja Kinski's Margit was deeply affecting. Scarlett Johansson proved with her sensitive, true-to-life portrayal of Suzanne that her earlier moving reading of the role of Manny in "Manny and Lo" was no accident. Scarlett is among the best in the business. Six year old Kelly Endresz-Banlaki played the conflicted, confused, and betrayed young Suzanne with stunning depth.
Eva Gardos has moved the art of cinema into a new and more profound dimension.