Director:
Miklós JancsóCámara:
János KendeReparto:
György Cserhalmi, Zsuzsa Czinkóczi, Lajos Balázsovits, Györgyi Tarján, István Kovács, István Bujtor, Bertalan Solti, László Horváth, József Madaras, Gábor Koncz, Sándor Kátó, Mátyás Usztics (más)Sinopsis(1)
Zsadányi frees his goddaughter, Bankós Mari, who was taken by the gendarmeries as an alleged communist. He drives into the forest, to the site where Mari was arrested, in a red car. His fantasies, which are a true portrayal of their future in the 30s, come alive. - The "wild rounds" of the country rage in parallel to the ritual love story of Zsadányi and Bankós Mari. The Great Plain is cut up by barbed wire and motor-cycles and bombing machines replace horses. Zsadányi's one-time friends are the bootlickers of German fascists. The land-owner who used to live on his estate in socialistic community with his peasants is more and more isolated from them. He attributes the reason for the country's destroy to the Prime Minister Héderváry whom he kills in spite of Mari's protest. The regime does not change because of this, and although the murder is covered up, the innocent Mari pays for it with her life. - The dream comes to an end, and the red car dashes on with the lovers. (texto oficial de la distribuidora)
(más)Reseñas (1)
The second part continues exactly where the previous part ended, after the main character's transformation from a white terrorist into a friend of the people. This transformation seemed very poorly managed to me throughout Hungarian Rhapsody: 1st moment = István is bred with the intolerant attitude of the aristocracy, and he cruelly fights on the side of counterrevolution; 2nd moment = István recommends allocating land to retail farmers, in order to "take the wind out of the sails of the reds," so it is clearly just an opportunistic calculating gesture; 3rd moment = István, dressed in peasant rags, sits at the table with the former aristocracy. Nothing happened between moments 2 and 3 that would coherently explain this transformation. Fortunately, this problem no longer exists in Allegro Barbaro (and it is therefore paradoxical that a story in which characters do not transform is better), and we can enjoy the eternal struggle of arrogance and brutality of wealth and power with the suffering and resistance of poverty in the background of passing history. There is no need to talk about the mastery of mise-en-scène, and the playful placement of individual characters is also very pleasing, which is not only the result of clever movement of actors on the stage but also of miraculous film editing.
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Galería (7)
Foto © Mokép
