Banned for over a decade for its outspoken criticism of the post-WWII communist regime in Hungary, Péter Bacsó's 'The Witness' has since then achieved unparalleled cult status in its native... See full summary »
Two men and a woman happen to meet in a bar. We learn from their conversations both the intriguing and banal details of their lives. But is anyone really telling the truth? From the meat ... See full summary »
One day, two unsuccessful rock musicians, Ede and Zaki, come across a competition. To commemorate the anniversary of the Institute for the Blind, they have to write a musical piece for the ... See full summary »
evokes great Hungarian soccer triumph in dark days of communism
Having grown up in 1950's Hungary (I left during the '56 Revolution), I remember very clearly the great 6:3 win against England, the first time the English national team had ever lost on their home field. I also recall the political period, though I was a child, with my parents drawing dark curtains while we huddled over the big radio, trying to listen to Radio Free Europe.
This film manages to capture beautifully both the excitement about the Hungarian soccer team and the drabness of the economic and political situation. The story begins in contemporary Hungary when a garbage man is asked by an attractive young woman to clean out a house she inherited from her grandfather. To his amazement, the room is filled with soccer memorabilia, featuring that grand national team of the 50s, starring Puskas, Kocsis, and his (and my) favorite--Hidegkuti. When he finds Hidegkuti's game jersey, he puts it on and literally swoons back in time to the day of the 6:3 match. It is also the day of his birth, and what he knows--the final score of the match--is combined with what he does not know--his birth mother's identity.
The film then stays in the past, in turn hilarious and somber, as Tutti runs from radio to radio to listen and anticipate the historic moments of the game. In the process, he makes friends and enemies, indirectly exposing the meanness and stupidity of the Rakosi communist period, especially its informers. In a touching moment, Tutti proudly begins to sing the Hungarian National Anthem, not realizing that national pride during this period has been forced underground. Without missing a beat, Tutti switches into the Internationale, the unifying song for the proletariat. At times surrealistic and always entertaining, 6:3 is a wonderful trip into the Hungarian past where one would hardly want to visit much less live!
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