One night Maloin, a switchman at a seaside railway station situated by a ferry harbor, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his ... See full summary »
Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the... See full summary »
Péter Breznyik Berg
Anxious to use artificial life to improve the world, Rosetta Stone, a bio-geneticist creates a Recipe for Cyborgs and uses her own DNA in order to breed three Self Replicating Automatons, ... See full summary »
One night Maloin, a switchman at a seaside railway station situated by a ferry harbor, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his control room on top of a high iron traverse from where he can see the whole bay. Suddenly he notices that the first of the disembarking passengers, a tall thin figure (a certain Brown as it will turn out later) leaves the harbor, but not on the usual route: after getting through customs, he goes around the dock and then withdraws into a dark corner, waiting. Opposite him, in front of the ship, another man soon appears and throws a suitcase towards the man on the shore. He goes and picks it up, then waits in an dark corner for the other man to join him. When he arrives, however, they begin to quarrel and finally, in the course of the vehement fight, due to a hit that turns out to be fatal, the shorter one falls in the water and sinks, clutching the suitcase in his hand. Maloin is watching the scene, ... Written by
Extensive dubbing was necessary in part because the Steadicam operator Marcus Pohlus was audibly panting and weeping in several scenes. See more »
When Maloin and the bartender set up the chessboard and pieces for their daily game, they place the board with a black square in the lower right corner. (The baseball equivalent would be to have the catcher and batter set up at first base instead of home plate!) See more »
Miroslav Krobot witnesses a crime, recovers the loot, and tries to live with his secrets
"The Man from London" is the first Bela Tarr movie I've watched, so I'm hardly in a position to evaluate his work critically. I'll say right off, I like it very, very much, so much so that, although I would easily rate it an 8, I've gone to a 10 to indicate a judgment that this movie will stand the test of time and be regarded as excellent. Whatever, it certainly belongs near the upper end of the scale.
This is a film noir done in 2007, so we have to call it neo-noir, but that's only a category. This film is very original and much more.
What does this film have? Tremendous cinematography. The scenes and faces will not be forgotten. The emotions conveyed by the actors will register strongly. What you are seeing will draw you in to a high degree.
For Tarr, location is extremely important. Locations become characters. The people are very important. The interaction of the two then becomes very important.
Tarr is expressing himself in his take on cinematic language and adding to that language. He is like an innovative jazz musician, but he is working in film. The communication goes beyond story and plot, way beyond. We are dealing with far more, because we see a facsimile of life, but one that's not real life at all but images and people with whom we journey for a time as they go through their lives. The movie form of expression is very deep and can be improvised in many new directions. Tarr here has used long and unbroken takes as his language. He has used light and darkness. He has used offscreen voices, as when the detective counsels the wife of the slain thief. He has used confining locations, adjacent to the ocean. Even eating a bowl of stew or a thin soup or sweeping out water from a shop play a part, and so does its hateful owner. Overhearing conversations plays a part, and so does the weight of conscience. The misunderstanding and poverty and suppressed feelings of anger and frustration at 25 years of poverty show up in Krobot's wife. His dreary and endless routine of undressing, sleeping, eating and working come in, and so does his paternal love of his daughter. It is no wonder that Krobot will buy a fur for his daughter, and again we see Tarr mercilessly skewer the merchants.
Krobot tries to help the murderer, and it leads to a tragic result. He is well cast. His features, his very trudging, are superbly employed in Tarr's palette. So also are the other actors well cast.
The IMDb plot summary is quite detailed. I need not repeat it. The story is simple. A man sees a murder, recovers the loot, and then lives with the consequences. It's what Tarr does with this story in bringing it to life that counts. The details count, from clothing to a look of apprehension on Krobot's face, to drying out damp money, and to the suspicions of the experienced police inspector. Tarr has watched over every detail and made them all significant.
The ways that the camera pans are often technically astonishing. It is not how we human beings see things ordinarily. It is a technical art being used to enhance, focus and deepen how we feel and experience. It is natural in the sense of being made into vision, but yet it is art, it is constructed. The point of it is to express the emotions at a wordless level that the person on screen is feeling, and at the same time to communicate a feeling directly to us the viewers. It has two purposes at a minimum.
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