In 1919, Hungarian Communists aid the Bolsheviks' defeat of Czarists, the Whites. Near the Volga, a monastery and a field hospital are held by one side then the other. Captives are executed... See full summary »
In Hungary, the national movement led by Kossuth has been crushed and the Austrian hegemony re-established, but partisans carry on with violent actions. In order to root out the guerilla, ... See full summary »
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 »
Miklós Jancsó's Silence and Cry is set during a turbulent era of disquiet, fear, persecution and terror, which permeates every corner of post-WWI Hungarian society. In 1919, after just a ... See full summary »
It is 1947; the Communist Party has just taken power in Hungary. In Jancsó's first color film, young students at a People's College have a debate with seminary students, but worry it will escalate into a fight.
Mail author for translation. Kodos hegycsucsok, fekete fenyvesek vilagaban el a havasok nehezsorsu nepe. Csutak Gergely favago nyomorusagos eletet felesege irant erzett nagy szerelme es ... See full summary »
In 1918 a simple Mongolian herdsman escapes to the hills after brawling with a western capitalist fur trader who cheats him. In 1920 he helps the partisans fight for the Soviets against the... 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 »
Those viewers who are familiar with director Miklos Jansco's better-known films ("The Round-Up," "The Red and the White," "Winter Wind") may find this adaptation of Euripides' Electra takes a bit of getting used to at first. Jansco's earlier films were noted for very long takes and fluid staging in a realistic mise en scene. Here the long takes and fluid staging are used, but the production is more "theatrical," i.e., the costuming is simple, and instead of a bare stage there is a vast steppe in Eastern Europe, with only a few spare structures as sets. It is as if a stage production using contemporary techniques were opened up and presented on an estate, complete with throngs of extras (many of them sans clothing), horsemen riding about, and a roving minstrel. However odd the initial effect may be in terms of conventional expectations, it makes for a mostly intriguing treatment of a classic text.
In fact, this production probably conveys more of a sense of the impact of the ancient Greek plays than stripped-down stage presentations: the Greeks used music, dance and mass movement of the chorus in their staging, after all.
Jansco adds to this with the camera's ability to move in and out of the action, so that within a single long take there are sequences of grandeur and swirling action and then moments of intimate exchanges. The whole experience is one of a theatrical presentation aiming for universality in its approach being complemented and enriched by the versatility of cinematic techniques.
The cinematography is a marvel of technique; the color is pleasantly muted
That being said, the screenwriter appends some contemporary political musings that may strike viewers as either appropriately idyllic (and idealistic) or jarringly naive.
For those who are familiar with the play and/or the director's other work, this film ought to be a pleasure to behold, whatever one may make of the artistic kneadings the material has been subjected to.
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