In the final days of WWII, a seventeen-year-old boy wanders the countryside. He is captured by Soviet troops, then released, then captured once more - after he has donned a German uniform ... See full summary »
Alegory of the suppression of the 1919 revolution and the advent of fascism in Hungary; in the countryside, a unit of the revolutionary army spares the life of father Vargha, a fanatical ... See full summary »
Rudolf is a good-natured pan-sexual golden boy, who cavorts on his rural estate with a host of beautiful, aristocratic lovers and friends of both sexes. He refuses to leave his country ... See full summary »
Jancso's movies can be recommended only to people with serious interest in movie-making and especially alternative European cinema. As in "Szerelmem, Elektra" Jancso again uses his favorite images and sounds. Hundreds of extras dance and perform rituals on the vast Hungarian plain surrounded by galloping horses (a traditional Hungarian animal as the Hungarians are heirs of the nomadic Huns). Very often the viewer is confronted by naked women walking around, I am still confused as to what they symbolize...that socialism needs no violence to overtake the old regime? Another typical feature is the solemnity with which the actors converse and act, no real dialog is to be found but a series of monologues. These monologues reveal what Jancso is most interested in - socialism and the equality of people. It is difficult for the viewer to keep up with them as they follow one after the other to bombard him with socialist ideology on the rights of the workers, the rising of the masses, the resistance, etc. Jancso tries to show that socialism can peacefully convert even the officials of the old order as seen by the officer refusing to suppress the mutineers and the soldiers dancing with the crowd towards the end of the movie. Regarding the lengthy monologues on socialism, a resemblance to Godard and his La Chinoise...?
This movie is difficult to watch due to its complex imagery intertwined with the socialist ideology that Jancso's characters devour us with. There may appear the question whether this movie can be seen out of the context of a life in a regime glorifying socialism (Hungary between 1945 and 1989). For anyone interested in movie-making by Hungarian directors, I recommend first starting with Szabo's films such as Mephisto, Oberst Redl and Sunshine, then going through Bela Tarr's movies, and finally trying Jancso.
3 of 12 people found this review helpful.
Was this review helpful to you?