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Silence and Cry (1968)

Csend és kiáltás (original title)
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 »

Director:

Miklós Jancsó
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1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Mari Töröcsik ... Teréz
József Madaras József Madaras ... Károly
Zoltán Latinovits Zoltán Latinovits ... Kémeri
Andrea Drahota Andrea Drahota ... Anna
András Kozák András Kozák ... István
István Bujtor István Bujtor ... Kovács II.
Ida Siménfalvy Ida Siménfalvy ... Teréz' mother
János Koltai János Koltai ... Peasant
Sándor Siménfalvy Sándor Siménfalvy ... Old peasant
Kornélia Sallay Kornélia Sallay ... Auntie Veronika
Mária Goór Nagy Mária Goór Nagy ... Kis Veronika
János Görbe ... The shepherd
László Szabó ... Detective
Philippe Haudiquet Philippe Haudiquet ... Photographer
Ila Schütz Ila Schütz
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Storyline

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 few months of communist rule the Hungarian Republic of Councils falls victim to a nationalist counter-revolution. Admiral Horthy, leader of the nationalist far right movement, becomes the self-proclaimed regent of Hungary, and assumes power as the legal Head of State. Soldiers of the short-lived Hungarian Red Army are now on the run from relentless secret policemen and patrol units of the nationalist Royal Gendarme. If caught, ex-Red Army soldiers are executed without mercy or proper trial. István Cserzi, a former soldier of the Red Army has fled to the Great Hungarian Plains and has taken refuge on a farm, which is run by two sympathetic women. Due to the generosity of these women and a former childhood pal, who is now a commandant of the local Royal Gendarme outfit, István is safely hidden from the ... Written by 21st Century DreamQuest Films Ltd

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Hungary

Language:

Hungarian

Release Date:

14 March 1968 (Hungary) See more »

Also Known As:

Cisza i krzyk See more »

Filming Locations:

Hungary

Company Credits

Production Co:

Mafilm See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Jancsó's former DOP, 'Tamás Somló' was busy filming _Eltávozott nap (1968)_, the first feature film of Márta Mészáros (Jancsó's wife). Mészáros and Jancsó agreed that she would work with the experienced DOP, and Jancsó would work with János Kende. See more »

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User Reviews

 
Personal drama from the bleak universe of Miklós Jancsó

Silence and Cry reminds me more of Jancsó's My Way Home, where Jancsó is still in his mannered interpersonal melee and strife period and yet he injects a modicum of storyline and pathos.

This is a miserable film in the sense that it is clear that nothing good is ever going to come of events right from the start, and there is also more obvious sadism than in the other Jancsó movies I've seen.

One thing that I think severely disables Jancsó from being as recognised as I believe he should be is that you are really facing difficulties if you haven't understood the context of his films. As in fact to a great extent they are portraying particular episodes in Hungarian history rather than being decontextualised avant-gardism. In a more recent film of his, The Lord's Lantern in Budapest, the Hungarian cultural references are overflowing. So this sort of film will probably never make it out of Hungary, unless Hungary become the world's next hyperpower - unlikely.

The background to this film is a post-World War one setting where a short-lived communist government has been overrun by right-wing nationalists, aristocratic remnants, and secret police. Well the commies are actually the good guys here, which may be difficult for a state-side audience to comprehend. As in a country under the iron-fisted rules of Hapsburg types has a right to explode out into communism. Anyway, one of these freedom-fighters is on the run and takes refuge on a farm where he is looked after by two pretty young ladies. I am sure this is most enjoyable for him there, is much ultra-cultured of face-rubbing, unfortunately I don't know any ladies of this type.

When I say the commies are the goodies, Jancsó is more of a humanist than a commie, although I'm sure he was a good revolutionary too. Anyway this was a very difficult film for me to watch as I am really quite autistic and I need emotional cues to understand what is going on. This is why I can't digest Bresson. Also Miklós Jancsó really has divested the film here of any melodrama, which however I do appreciate to a certain extent, especially due to the subject matter. It's a slow-burn film whose emotional impact is most overwhelming to me now, an hour after watching.

We're shown a small population under the control of a military police force, the police chief here knows the freedom-fighter from many years ago and so is content to let him hide out. However other more hardcore forces are roaming the countryside checking up that people are loyally royalist. In that case István still has to maintain a very low profile.

So our idealist has to stay schtum. Which is a problem because the two ladies he is with are poisoning the husband of one of them, and his mother. This is very naughty of them.

Our idealist has a problem, should he report it to the authorities? By what authority do these authorities hold authority? The authorities will be forced to execute him if he reports it because he is a commie and will have to reveal this fact. It is a mind-boggling dilemma. And if Miklós had played it for any melodramatic potential, it would have been excruciating to watch.

One cannot be help but be humanised by Miklós Jancsó's films of this period once you see past the stylisation. It has occurred to me on a deep level tonight that not even Jancsó's supposedly one-note period, is actually one-note.

After the style of Round Up Jancso has a photo collage at the beginning of the film of military types in parades and such like, this is very humorous to me, he plays a silly pathetic childlike rendition of some doubtlessly military theme single-fingered on a piano over the top, just to show us what he think of those damned military-aristo types.


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