The Films of Miklós Jancsó

 “THE GREATEST HUNGARIAN FILM DIRECTOR OF ALL TIME” - Béla Tarr

The above words by Tarr are featured on Kino Lorber’s recent six film disc set of Miklós Jancsó:

The Round-Up (1966)
The Red and the White (1967)
The Confrontation (1969)
Winter Wind (1969)
Red Psalm (1972)
Electra, My Love (1974)

I had seen a few films of Jancsó long before I had seen any film by Béla Tarr. Now, having revisited some of Jancsó's films, Tarr’s words make more sense because I can clearly see the influence of Jancsó on Tarr’s films.

The sweeping camera movements, the sideways camera pan, found in Jancsó’s films clearly has an influence on Tarr’s films in terms of shot composition. Although, Tarr’s camera rhythm and pan speed is slighter slower than Jancsó's and that is due to the differing focus and topics the two directors want to cover. 

Jancsó’s films are concerned with the fate of a society or nation in general and as a result, characters in his film are involved in debates between capitalism vs socialism, industrial vs agricultural ways of live. Depiction of these debates are shown via sweeping camera movements as the camera moves across a diverse array of characters, rival groups and fighting armies who are debating these lofty ideals and the fate of society. 

The camera has a lot of ground to cover in Jancsó's films because there are multiple viewpoints that need to be shown and these beautiful measured camera movements engulf an entire universe as individuals slowly blend into a larger mosaic. Jancsó also shows the impact of authoritarian rule which crushes individuals and his films depict the sexual abuse committed by men (soldiers or those in power). On the other hand, Tarr’s camera wants us to focus on 1-2 characters in its movements. Sometimes, Tarr’s camera wants us to focus on objects as the characters are not in the frame. There are crimes committed in Tarr’s films as well but those are mostly individual in nature or undertaken by a few against a small community.

Another difference between the two directors is regarding the mood in the films, which includes the colour palette and background noise. The sound of the landscape, rain and environment, filters through more in Tarr’s films whereas in Jancsó’s films, it is songs, music, spirited debates and gunfire that come through. Tarr’s films feature dark or grayish palettes with rain and gloomy skies. On the other hand, Jancsó’s films are packed with bright lively skies in the four colour films in the above set (The Confrontation, Winter Wind, Red Psalm and Electra, My Love). This is true even in Winter Wind where the snow doesn’t appear gloomy at all.

Miklós Jancsó’s films take real life events in Hungarian society and bring them to life. However, the manner in which the films are shot have a universality to them. This is due to the films being shot in open fields which turns the focus more on the words and actions of the characters. The crimes the men commit and their unflinching loyalty to their cause are still applicable in today’s world as the world is more divided than ever with men willing to go to any lengths to justify their cause.

There is plenty of good writing on Jancsó’s films. Here are just a few worthy ones:

1. Richard Brody in New Yorker

"Jancsó crafted a primordial form of slow cinema, but made it full of action. “Winter Wind,” for instance, is famously made of only twelve or thirteen elaborately choreographed shots, with the camera weaving around a host of actors, passing from one to another, and observing groups form and dissolve; these hypnotically abstract patterns of movement depict concrete and often violent events. "

"Jancsó’s films relentlessly stage cruelty, ruthlessness, and sadism—the use of power as spectacle to cow freethinkers into submission. The sexual abuse of women is a constant of tyrannical and repressive forces, and women’s resistance to them takes heroic forms, "

"What’s more, he elevated irony to a matter of cinematic form. The films in the Metrograph series are all trees, leaving it to viewers to draw their own forest. With his pointillistic vision of microhistory, of an overwhelming profusion of details, Jancsó radically decontextualized historical events and turned them into abstract symbols. The heroism of revolutionaries in “The Red and the White” makes Bolshevism look like a suicide pact, a death cult; in “Red Psalm,” soldiers purporting to side with the people are bloody murderers of those they claim to defend. "

"Jancsó also evoked the unique psychological horrors of life under tyranny—in style as well as substance—in his depiction of people enduring brutal and horrifying political events that, owing to mass censorship and individual intimidation, go undenounced and even unnamed. Jancso’s foregrounded vision of turbulent action rendered it both overwhelmingly complex, with its Kafkaesque snares and deceptions, and blankly Beckettian, with the absurd cold opacity of its violence, of the nerve-jangling proximity of life to death. "

2.  J. Hoberman in Film Comment

"First manifest in The Round-Up (65), Jancsó’s boldly stylized film language appeared to be a synthesis of Antonioni (elegant widescreen compositions, austere allegorical landscapes), Bresson (impassive performers, exaggerated sound design), and Welles (convoluted tracking shots, intricately choreographed ensembles), even as his free-floating existential attitudes and “empty world” iconography evoked the theater of the absurd, albeit without the laughs. Jancsó’s subject or, rather, his prison, was history. His narratives recalled the literature of extreme situations-pivoting on cryptic betrayals, mapping the seizure of power, dramatizing the exercise of terror- and his politics were ambiguously left, perhaps crypto-Trotskyist."

3. Patrick Dahl in Screenslate:

"Circularity runs through all six films in the series. Circles, mostly made of bodies, collide, surround, break and absorb one another as power shifts between the masses and agents of control. "

"Jancsó’s encircled masses and long takes reached their apex with Red Psalm (1972) and Electra, My Love (1974, pictured at top). Featuring only a few dozen shots each, the films offer a nearly impenetrable array of historical symbols and folklore in which groups of singing, dancing and naked peasants lock arms in solidarity against tyrannical forces. "

Top Hungarian Films of All Time

Hungary has a rich cinematic history and has produced many stellar films over the past seven decades. However, many classic films from Hungary aren’t as widely distributed or available online as those from other Eastern European countries such as Czech Republic or Poland. For example, Criterion has done a great job with releasing Czech and Polish films but their Hungarian film release stands at just 1. And this solitary title only came recently in March 2022 with Márta Mészáros’s brilliant Adoption. Thankfully, Kino Lorber has more Hungarian titles on offer and their upcoming release of 6 Miklós Jancsó films is certainly welcome. In addition, a lot of these Kino Lorber Hungarian titles are available online via kanopy.com. In my case, I have two labels in UK to thank for seeing some classic Hungarian films: Artificial Eye’s release of Béla Tarr’s Sátántangó and Second Run. Still, for the most part, it is tough to stream Hungarian films online. There was a brief period of few months in 2020 when Hungary's National Film Institute showcased 40 classic films for free online. I missed seeing these films in 2020 although some of them are still available online on You Tube or Vimeo but without English subtitles. However, the Eastern European Movies website has a selection of these films available to stream with English subtitles for a fee.

The availability of these films via the Eastern European Movies website still doesn't end up covering all the films tabulated by Hungarian critics as the best films ever. There have been two lists of 12 films each put out called the ‘Budapest Twelve’ outlining essential Hungarian films.

In the first case, a list was put out in 1968 for top 12 Hungarian films from 1948 - 1968.

Frigyes Bán: Treasured Earth
Miklós Jancsó: The Round-Up
Zoltán Fábri: Merry-Go-Round
András Kovács: Cold Days
Félix Máriássy: Budapest Spring
Zoltán Fábri: Professor Hannibal
Imre Fehér: In Soldier's Uniform
Károly Makk: The House Under the Rocks
Ferenc Kósa: Ten Thousand Days
István Gaál: Sodrásban
Márton Keleti: The Corporal and the Others
István Szabó: Father

There was a New Budapest Twelve list put in 2000.

Miklós Jancsó: The Round-Up
Károly Makk: Love
Zoltán Huszárik: Szindbád
István Szőts: People of the Mountains
Géza Radványi: Somewhere in Europe
Péter Gothár: Time Stands Still
István Székely: Hyppolit, the Butler
Zoltán Fábri: Merry-Go-Round
András Jeles: Little Valentino
Ildikó Enyedi: My 20th Century
István Szabó: Father
Zoltán Fábri: Professor Hannibal

I have only seen half of the above 2000 list so I still have some work to do. Although, one glaring omission from the above list gives me pause. There isn’t a single title by Béla Tarr. By 2000, he had directed 8 films including Sátántangó. Werckmeister Harmonies was released in 2000 so perhaps if that was not seen, then surely 7 of his titles of would have been considered. This omission doesn’t seem like a mistake.

In András Bálint Kovács' book ‘The Cinema of Béla Tarr’, Kovács references the lack of Tarr’s films in the 2000 list and elaborates:

“But the discrepancy between the appreciation of Tarr’s films on the international and on the national level is striking. And I am not talking about the discrepancy between an elite’s taste and the popular taste. This would be obvious and needs no explanation. What I am talking about about here is a discrepancy within a Hungarian art-film audience, which right from the appearance of the Tarr style in 1988 became divided about its value.” page 172, ‘The Cinema of Béla Tarr’, András Bálint Kovács

This gap between directors who are popular locally vs internationally isn’t isolated to Hungarian cinema but takes place in many other nations as well, where some directors find much more appreciation internationally as opposed to locally. Some examples such as Carlos Reygadas (Mexico), Apichatpong Weerasethakul (Thailand) and Lav Diaz (Philippines) come to mind while a handful of Indian directors do well at international film festivals yet hardly ever get their films shown locally.

While I still have some catching up to do for Hungarian films, here is my current list.

Top 10 Hungarian Films of All Time

1. Sátántangó (1994, Béla Tarr)

Béla Tarr’s almost 7.5 hour Sátántangó is a cinematic wonder. The film is hypnotic and an immersive experience which showcases the best elements of Tarr’s cinema: long takes, sweeping camera movements, harsh realism, artistic compositions and unforgettable sounds (howling winds, relentless rain).

2. Adoption (1975,  Márta Mészáros)

It is easy to see why this is the first film by a woman to win the Golden Bear at the Berlin Film Festival. The film’s creative camerawork brings the material alive and lends a high degree of intimacy with the characters.

3. The Round-Up (1966, Miklós Jancsó)

The setting is 1880s Hungary but the abstract depiction of events has parallels in our contemporary world. This was also true back in 1966 when the film came out as it echoed 1960s Hungary and also implied events in Hungary during WWII. This is because the film shows how power is held and abused while highlighting those who will do or say anything to survive.

On another note, the film’s set coupled with the discussions remind me of the morality battles shown in Glauber Rocha’s parched Brazilian landscape.

4. The Fifth Seal (1976, Zoltán Fábri)

A dizzying film packed with philosophical ideas some of which will always be relevant due to how people align with differing ideologies.

5. The Witness (A tanú, 1969, Péter Bacsó)

Banned for over a decade in Hungary, Bacsó's wicked satire about communism is also a rare humourous film on this list. The Witness shows how the changing political situation also changes what is acceptable behaviour and what is deemed appropriate. Unfortunately in the film, József Pelikán (Ferenc Kállai) finds himself on the wrong side at all times. The film also features the famous Hungarian director Zoltán Fábri playing a politician.

6. Current (Sodrásban, 1964, István Gaál)

István Gaál’s Current has a different look and feel from the other Hungarian films on this list. The depiction of friends spending a lazy afternoon swimming initially evokes French cinema. However, when one of the friends disappears, the introspection that the others go through feels like something out of Michelangelo Antonioni’s films.

7. On Body and Soul (2017, Ildikó Enyedi)

Ildikó Enyedi won the Golden Bear at Berlin for this smart film which depicts our isolated contemporary society where real connections are hard to come by.

Enyedi’s film My 20th Century was named on the 2000 'Budapest Twelve' list but I prefer On Body and Soul instead.

8. Kontroll (2003, Nimród Antal)

A wild film that follows the lives of the Budapest underground subway metro staff on their daily routines. The humorous first half looks at the insanity, the male power games, the inner turmoils, and hilarious passengers but the second half shifts gears and explores the shades of darkness lurking beneath the surface.

9. Angi Vera (1979, Pál Gábor)

Using the main character Vera (Vera Pap) as a lens, the film shows how one can assimilate in a party structure and convince leaders of their dedication to the cause. In addition, one can use the examples in the film to extrapolate how easy it would have been for neighbours to turn on each other not only in Hungary but across multiple regions (Eastern Europe, Latin America, Middle East to name a few) over the last few decades.

10. The Turin Horse (2011, Béla Tarr/Ágnes Hranitzky)

Béla Tarr and Ágnes Hranitzky craft their unique end of the world scenario with a few bare essentials: an old man, obedient daughter, rebel horse, untrustworthy visitors, an angry wind, potato, bucket, well, table, chair and a window. The film features an array of reverse and sideway shots that manage to open up space in a confined house setting.

Honourable mentions (alphabetical order as per English titles):

The Falcons (1970, István Gaál)
Mephisto (1981, István Szabó)
Son of Saul (2015, László Nemes)
Son of the White Mare (Fehérlófia, 1981, Marcell Jankovics)
Werckmeister Harmonies (2000, Béla Tarr/Ágnes Hranitzky)

October Film Wrap-up

October was supposed to be a relaxed month in terms of film viewing after all the film festival movies that I saw between Sept 20-Oct 4. But as it turned out, the third week of October ended up being pretty crazy in terms of film viewings -- 15 movies in 5 days with 7 movies watched in one day. I certainly had no intentions of putting myself through this ordeal but things ended up that way. While I talked about some of those 15 movies in previous posts, the following six were left out.

The Son (2002, Belgium/France, Directors Jean-Pierre & Luc Dardenne): Rating 9.5/10

Fists in the Pocket (1965, Italy, Director Marco Bellocchio): Rating 8.5/10

Japón (2002, Mexico/Germany/Netherlands/Spain, Director Carlos Reygadas): Rating 8/10

Chocolat (1988, France/West Germany/Cameroon, Director Claire Denis): Rating 8/10

Transylvania (2006, France, Director Tony Gatlif): Rating 7.5/10

Electra, My Love (1970, Hungary, Director Miklós Jancsó)

Revenge and pain: There is something so simple but brilliant about the Dardenne brothers films. The verite style allows one to focus on only the relevant details and shut everything else out. The Son is another highly infectious movie to watch, although the topic of revenge is handled quite differently from other films.

Family problems: Fists in the Pocket is Marco Bellocchio's dark and un-relentless film which looks at the complicated relationships within a religious Italian family. It is not a surprize that this film caused such a sensation in Italy back in 1965 because the movie shows absolute cruelty and no remorse in how a man plots to kill his family. But the movie is not just about murder but includes topics of incest and religious defiance. And to think this was Bellocchio's debut feature!

A Journey:

Carlos Reygadas's Japón is a simple tale of a man's journey across the Mexican landscape. The man is tired of the city life and just wants to escape the noise and chaos. But he finds that he still can't shut off his desires despite being away from civilization. The best thing about this movie is the imaginative camera angles, especially during the final sequence when the camera slowly turns around 360 degrees and allows us to fully soak in every surrounding detail.

I have a huge admiration for Tony Gatlif and his depiction of journey tales spiced with gypsy music. Both Exils (2004) and Gadjo dilo (1997) were such movies and as it turns out even Transylvania contains such elements. In fact, both Transylvania and Gadjo dilo have a lot in common. In Gadjo dilo, Stéphane (Romain Duris) heads to Romania to track a gypsy singer he once heard on a cassette. In Transylvania, a pregnant woman (Zingarina played by Asia Argento) heads to Romania as well to find a gypsy singer who is the father of her child. In both films, the main characters find themselves enchanted with the Romanian way of life and find happiness only when they give themselves up fully to a different culture.

Exile in Africa: I do believe that some movies lose their luster when viewed in a different decade than when they were made. Claire Denis's Chocolat is a decent movie but watching it in 2007 hardly has any impact as opposed to maybe watching it back in 1988. The movie is set in Cameroon on the eve of World War II and shows the daily relations and tensions between the French and the local Africans. The movie handles some issues in a very careful and subtle manner, especially regarding the inter-racial sexual tension and the brewing revolution. There are plenty of beautiful camera movements but over the years plenty of movies have depicted Africa in a better manner.

A staged greek play: I was really eager to watch Miklós Jancsó's Electra, My Love. But unfortunately, I didn't enjoy this Greek tragedy too much. Even though the sets are impressive and certain aspects of how the camera freely flows from one set of characters to another are interesting, I was not a fan of this effort.