#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – An Hungarian youth comes of age at Buchenwald during World War II. György Köves is 14, the son of a merchant who’s sent to a forced labor camp. After his father’s departure, György gets a job at a brickyard; his bus is stopped and its Jewish occupants sent to camps. There, György find camaraderie, suffering, cruelty, illness, and death. He hears advice on preserving one’s dignity and self-esteem. He discovers hatred. If he does survive and returns to Budapest, what will he find? What is natural; what is it to be a Jew? Sepia, black and white, and color alternate to shade the mood.
Plot: An Hungarian youth comes of age at Buchenwald during World War II. György Köves is 14, the son of a merchant who’s sent to a forced labor camp. After his father’s departure, György gets a job at a brickyard; his bus is stopped and its Jewish occupants sent to camps. There, György find camaraderie, suffering, cruelty, illness, and death. He hears advice on preserving one’s dignity and self-esteem. He discovers hatred. If he does survive and returns to Budapest, what will he find? What is natural; what is it to be a Jew? Sepia, black and white, and color alternate to shade the mood.
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Vivid Recreation of the Hungarian Jewish Experience of the Holocaust and Its Afternath
“Fateless (Sorstalanság)” has to answer: Why make yet another non-documentary film about the Holocaust? While of course every victim and survivor had an individually horrific experience and are essential witnesses, for film viewers, what unique viewpoint or story is there to watch that we haven’t seen through tears before?
It takes quite a while for the viewer to understand that the point of Nobel-prize winning Imre Kertész’s adaptation of his debut, semi-autobiographical novel is to tell the specific story of Hungarian Jews, as zero context is provided for the opening, anecdotal scenes, no dates, no background information on where in World War II we are starting from and not even how much time is passing in the first third of the film as the Nazis’ net tightens on Budapest’s Jews.
Perhaps director Lajos Koltai’s goal in not providing the kind of context that was carefully established on films where he was the cinematographer, “Sunshine” and “Max,” was to help us understand the bewilderment of the diverse Jewish community– observant and secular, capitalists and workers, young and old, and the randomness of what happened to them. Families coalesce in confusion as they are buffeted by scraps of information, changing government directives, amidst anti-Semitism and collaboration by their fellow Hungarians. We’re also supposed to believe, however, that amidst these confusions the young teen protagonist (the very expressive Marcell Nagy) has extensive philosophical discussions with his play mates, and the girl next door who he of course has a crush on, about Jewish identity. Otherwise, his WWII experiences look a lot like the boy’s in Spielberg’s “Empire of the Sun.”
The next third of the film is gruesome experiences in concentration camps as we have seen before, even though these are extremely effectively re-enacted as the huge cast of actors and extras desiccate before our eyes. The production design in recreating the bare shelter and their work detail is the most realistic I’ve seen in a fiction film, as compared to documentaries and as described to me by a cousin who was the sole Holocaust survivor in our family (I’m named for her father who died in Auschwitz).
Halfway through these horrors, the theme of the film as to the uniqueness of the Hungarian experience starts to come through more than the usual Nazi sadism. Survival is linked to mutual dependence, camaraderie and bonding that comes from their national identification, even more than their shared religion (we see a few inmates nobly strive to maintain Jewish rituals). Individual personalities vividly come through and attitude and the help of one’s fellow man turns out to be as important as food, as life is reduced to its most basic elements. The only other film I’ve seen that communicates this as emotionally was Peter Morley’s documentary “Kitty: A Return to Auschwitz,” about an essential mother/child bond.
Even during the camp experience, though, some subtleties are lost by lack of context for an English-speaking audience, as a few scenes were confusing to me as there was evidently significances if a character was speaking German or Hungarian, and that difference went by me. The German signage was not translated, so the last part of the boy’s Buchenwald experiences was also confusing, unless the point was that he was mystified as well. The voice over narration throughout is, unnecessarily, for philosophical ruminations and does not communicate any additional information than the stark visuals and conversations.
With liberation indirectly providing the first date reference in the film as we presume it is 1945, Daniel Craig has a cameo as an American soldier, in his second appearance in a film in the past year as a Jew, after “Munich.” His role recalls Montgomery Clift in Fred Zinnemann’s 1948 “The Search,” as one of the few films to also portray the wandering Jews as Displaced Persons amidst the rubble of Europe and their destroyed lives and communities.
The last section is movingly unique and vital viewing as we see Europeans, who we know from France to Russia but here particularly Hungarians, will settle into their amnesia and denial of responsibility, what a survivor in a documentary called “the 81st blow” that is the worst of all. While issues of vengeance are included in passing, the survivors seem like ghosts in their tattered prison garb as haunting images that affront and challenge returning normality like echoes of a nightmare that should go away in the light of day. The survivors are suffering from post-traumatic stress and cannot communicate what happened to them in language that the curious, whether family, friends or strangers, can understand– or want to understand. The visceral impact is again marred by duplicative philosophizing.
Ennio Morricone’s score emphasizes the potential for humanity, with beautiful vocalizations by Lisa Gerrard.
As to the cinematography, indiewire reports that the film used bleached-bypass color prints, with laser-applied subtitles: “In the concentration camps, it becomes more monochromatic. And after the liberation, the color comes back in.” I saw it still in first run at NYC’s Film Forum and the print was already scratched quite a bit, and there were frequent white on white subtitles.
A neighbor whose family had experiences as in the film provided background: “The Germans entered Hungary on March 19, 1944. They had exactly one year to do there what they did in Poland, Czechoslovakia, etc. in 6 years. The deportations started around April-May of 1944 from the outskirts of the country, leaving Budapest to the end and since the war was over the following May, there was no time to deport them as well. Jews from Budapest had to be terribly unlucky to be sent to the chambers. That’s why my parents, who survived, and grandparents, who did not, were sent to the camps because they did not live in the capital. It was very haphazardly done from the capital. There were several groups of Jews who were taken from labor camps to the front in the Ukraine.”
Concentration camp through the eyes of a teenage boy
Fateless (Sorstalanság ) grows out of a famous novel by 2002 Nobel laureate in literature Imre Kertész based on his experiences as a 14-year old Jewish boy from Budapest held in Nazi concentration camps toward the end of the War, released, and returned home.
When we first meet him, Gyuri Köves (Marcell Nagy) is sort of cool: tall, thin, self-possessed, with big puff-head hair — rather like a young Bob Dylan.
We enter a world of confusion and denial which he is forced to inhabit. Gyuri is conscientious about keeping his Star of David showing as he walks home across a square, as if it’s a point of sartorial pride. He doesn’t know very well the Hebrew liturgy he’s asked to repeat in his family, but he’s not like the neighbor girl he fancies, who cries because she doesn’t know what it means to be a Jew. Gyuri arrives to find his father deprived of his business and commanded to go off to “work camp.” Gyuri’s assigned to work in a factory and two elders — a Kafkaesque pair, whom we’ll meet again when the war’s over — argue vociferously over whether he should go to his job by bus or by train, as if that decision would resolve the whole predicament. The women are silently weeping, the men self-deceived hypocrites: or are they being brave?
Gyuri is detached and confident, up for trying a little smooching during an air raid. He’s not a hero but he seems capable of thriving. Nonetheless he almost dies in the camps. In fact when he’s back he says he’s already dead. “Maybe I don’t exist,” he tells the girl he flirted with before.
Gyuri isn’t taken away in a terrifying sweep like the Warsaw Ghetto sequence in Schindler’s List; in fact, things continue to be Kafkaesque. He’s pulled off a bus going to the factory and held up with some others by an inept cop who waits for orders, all at sea himself. The whole process of going to the camps seems like a series of bureaucratic snafus. Later Gyuri observes that there were many points where anyone might have escaped. (See Kafka’s The Trial.)
A crucial point comes when a lot of boys are unloaded at Auschwitz and somebody tips them off to claim they’re 16. A German soldier with the face of a cadaver thumbs Gyuri to the right, to work. A littler, bespectacled boy and an officious engineer who brags of his skills and his “perfect German” are sent left, to die.
From Buchenwald Gyuri’s sent to a smaller camp where there aren’t even gas chambers and crematoria. From then on the camp experience is a series of short sequences ending in blackouts, nightmarish vignettes that stay in the moment and avoid grand scenes — except for the hanging of three escaped prisoners who’ve been caught. Characters emerge only to disappear in the chaos of camp life. A man who’s just survived four years in a Soviet prison camp becomes Gyuri’s protector and mentor, showing him how to horde bits of food and keep clean to avoid lice and disease.
But Gyuri eventually balks at this second level of control, lets himself fall prey to hunger and exhaustion, grows scabby and corpse-like and collapses with a swollen and infected knee. It’s treated but then gets even worse and he’s thrown on a pile of corpses, the undead among the almost dead and the already dead. Through this his voice-over comments on scenes that unroll for us. Sloughing through rain and mud, always cold, hungry, thirsty, the boy still sees a beauty in the twilight hour when they return from work, eat, and have a minute of peace in this stark hell-hole in which later he says they were happy, because things were simple and clear.
The young actor grew four inches during film-making and his voice changed. It’s his deeper voice that narrates and tells us at the end about a nostalgia for this clarity and simplicity, for “the happiness of the camps” that no outsider ever knows about, and his physical transformation echoes the transformation of his character whose body is still a teenager’s but whose mind is middle-aged.
Somehow the boy ends the war in a prison hospital that restores his strength. The most astonishing moments come when (resisting an American officer’s advice to go to Switzerland, then to America) Gyuri returns to Budapest. Here he is back in town, cadaverous, sunken-eyed, scabby-lipped, in prison stripes, yet somehow firm and proud, on a Budapest trolley answering a man’s questions, explaining to him that in the camp, beatings and starvation were all quite “natural.” This and encounters with the would-be girlfriend and family and neighbors are the freshest moments in this beautiful, painful, eye-opening look at the Nazi persecution.
Director Koltai has long been a fine cinematographer and the visuals in Fateless are striking, the horrible smoke from the ovens lovely in the evening light, even as they make the young hero realize what it means and declare, “We are all going to die.” Kertész has his own dry take on his subject: “Auschwitz is the human condition, the end point of a great adventure, where the European traveler arrived after his two-thousand-year-old moral and cultural history.” Showing the camps through the eyes of a pubescent boy who suffers but experiences beauty is essential to the cold neutrality of the author’s viewpoint, and director Koltai has recreated things in a way that never feels manipulative. No tragic sweeping strings — no tragedy at all; rather a mix of grim suffering and transcendence that takes you close to the experience, without letting you pretend that you’ve been there.
When someone asks Gyuri how he is when he’s back he answers, “Very, very angry.”
Original Language hu
Runtime 2 hr 20 min (140 min), 2 hr 14 min (134 min) (Toronto International) (Canada)
Genre Drama, Romance, War
Director Lajos Koltai
Writer Imre Kertész
Actors Marcell Nagy, Béla Dóra, Bálint Péntek
Country Hungary, Germany, United Kingdom, Israel, France, United States
Awards 6 wins & 7 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium, Panavision Primo Lenses
Film Length 3,825 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision 250D 5246, Vision 500T 5279)
Cinematographic Process Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format 35 mm