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Szegénylegények (1966)
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Overview
User Rating:
Release Date:
6 January 1966 (Hungary) morePlot:
In Hungary, the national movement led by Kossuth has been crushed and the Austrian hegemony re-established... more | add synopsisAwards:
1 nomination moreUser Comments:
Ideological in a stylistic way moreCast
(Cast overview, first billed only)| János Görbe | ... | János Gajdar | |
| Zoltán Latinovits | ... | Imre Veszelka | |
| Tibor Molnár | ... | Kabai | |
| Gábor Agárdi | ... | Torma (as Agárdy Gábor) | |
| András Kozák | ... | Ifj. Kabai | |
| Béla Barsi | ... | Foglár | |
| József Madaras | ... | Magyardolmányos | |
| János Koltai | ... | Béla Varju | |
| István Avar | ... | Vallató I | |
| Lajos Öze | ... | Vallató II | |
| Rudolf Somogyvári | |||
| Attila Nagy | |||
| Zoltán Basilides | |||
| György Bárdy | (as Bárdi György) | ||
| Zsigmond Fülöp |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
90 min | Hungary:95 minCountry:
HungaryLanguage:
HungarianColor:
Black and WhiteAspect Ratio:
2.35 : 1 moreSound Mix:
MonoFun Stuff
Trivia:
Voted as one of the "12 Best Hungarian Films 1948-1968" by Hungarian filmmakers and critics ("Budapest 12") in 1968 and then again as one of the "12 Best Hungarian Films" ("New Budapest 12") in 2000. moreMovie Connections:
Featured in "Fejezetek a film történetéböl: A magyar film 1957-1970 (#1.18)" (1990) moreFAQ
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Discuss this movie with other users on IMDb message board for Szegénylegények (1966)| Recent Posts (updated daily) | User |
|---|---|
| One of the all time greats and will still be forgotten | Mlif82 |
| where to buy | yesindeed |
| Gajdar János as Henry in Lynch's Eraserhead | vodkabird |
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| IMDb Drama section | IMDb Hungary section | Add this title to MyMovies |





Life comes along at a variable pace, and we are constantly re-positioning our gaze to obtain the optimum information in order to understand the situation we are in. This is replicated in the cinema through the mise en scène and editing of the scenes. Since the 1930s there has been an either explicit or implicit debate as to whether editing within the scene is a good or bad thing, with Andre Bazin rooting for the unity of the image against montage (editing). Fifteen years before this film, Hitchcock set down a marker with 'Rope' (and to a lesser extent 'Under Capricorn') that scenes, indeed whole films can be made without much in the way of editing, by simply organising the action and camera movement to reveal the same information in a more continuous way.
Enter Miklos Jancso. With this film he became something of a celebrity in intellectually active film circles by structuring it to be shot in the main, in long takes. Does it work? Well, it works in one way, and that is that it draws attention to the Hungarian plains in which it was shot and which, during the numerous long slow pans that we see, seem to stretch forever across the landscape. Looking at it again after almost forty years, I find it difficult to believe that it made such a big kerfuffle. Long held takes DO enhance suspense - hence Hitchcock's temporary enthusiasm for them - but they seem artificial as they do not mimic the action of the eye, which is always on the lookout for something more interesting elsewhere (hence Hitchcock's enthusiasm being only temporary!).
The 'rounding-up' of prisoners that it portrays is an OK subject for a film, but I think we would have been much more emotionally involved with the characters if we had been treated to reaction shots and the like.
Still, see it as a theoretical/historical curiosity.