MIKLóS JANCSó (Hungarian pronunciation: ; 27 September 1921 – 31 January 2014) was a Hungarian film director and screenwriter.
Jancsó achieved international prominence from the mid-1960s onwards, with works including The Round-Up (Szegénylegények, 1965), The Red and the White (Csillagosok, katonák, 1967), and Red Psalm (Még kér a nép, 1971).
Jancsó's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. A frequent theme of his films is the abuse of power. His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancsó's explorations. Towards the end of the 1960s and especially into the 1970s, Jancsó's work became increasingly stylized and overtly symbolic.
* 1 Early life
* 2 Career
* 2.1 1950s * 2.2 1960s * 2.3 1970s * 2.4 1980s * 2.5 1990s and 2000s
* 3 Politics * 4 Personal life * 5 Awards
* 6 Filmography
* 6.1 Features * 6.2 Documentaries and shorts * 6.3 Newsreel documentaries
* 7 References * 8 External links
After the war, Jancsó enrolled in the Academy of Theatre and Film
Jancsó first started directing films in 1954 by making documentary newsreels. Between 1954 and 1958 he made newsreel shorts whose subjects ranged from a portrait of Hungarian writer Zsigmond Móricz in 1955 to the official Chinese state visit in 1957. Although these films do not reflect Jancsó's aesthetic development, they gave the director the opportunity to master the technical side of film-making while also enabling him to travel around Hungary and see firsthand what was happening there.
In 1958, he completed his first full-length feature film, The Bells Have Gone to Rome , which starred Miklós Gábor . In the film a group of Hungarian schoolboys are pressured to join the army by Nazi Germans and fight against the Russians on the eastern front. As the schoolboys begin to learn about and understand the Nazi regime , they reject the Germans offer. Jancsó now dismisses this early work.
Jancsó then returned to documentary film-making, including a collaboration with his wife Márta Mészáros . In 1959 he met Hungarian author Gyula Hernádi , who collaborated on Jancsó's films until his death in 2005.
After contributing to the film Három csillag with Zoltán Várkonyi
and Károly Wiedermann in 1960, Jancsó's next feature film was
Cantata (Oldás és kötés) in 1962. The film starred Zoltán
Andor Ajtay , and was written by Jancsó from a short
story by József Lengyel. In the film Latinovits plays a young doctor
with humble roots who grows tired of his more intellectual life and
career as a surgeon in
Jancsó's next film was My Way Home (Így jöttem), released in 1964.
It was his first collaboration with screenwriter
Gyula Hernádi and
András Kozák and
Sergei Nikonenko . In the film Kozák plays
Jozak, a teenaged deserter of Hungary's Nazi-run army at the end of
World War II. He is twice captured by the
While My Way Home had received modest international attention, his next feature in 1965, The Round-Up (Szegénylegények), was a huge hit domestically and internationally and is often considered a significant work of world cinema. The film was again written by Hernádi and starred János Görbe , Zoltán Latinovits, Tibor Molnár , Gábor Agárdy and András Kozák.
The Round-Up takes place shortly after a failed Hungarian uprising against Austrian rule in 1848 and the attempts by the authorities to weed out those who took part in the rebellion. The film was shot in widescreen in black and white by regular Jancsó collaborator Tamás Somló. Although it is Jancsó most famous film, The Round-Up does not exhibit many of his trademark elements to the degree to which he would later develop them: thus, the takes are comparatively short and although the camera movements are carefully choreographed they do not exhibit the elaborate fluid style that would become distinctive in later films. The film does, though, use Jancsó's favorite setting, the Hungarian puszta (plain), shot in characteristically oppressive sunlight.
The Round-Up premiered at the
1966 Cannes Film Festival
Jancsó's next work The Red and the White (Csillagosok, katonák, 1967) was a Hungarian-Soviet co-production to celebrate the 50th anniversary of the October 1917 revolution in Russia and the subsequent Hungarian Revolution of 1919 . Jancsó set the action two years later during the Russian Civil War and, he made an anti-heroic film depicting the senselessness and brutality of armed combat. The film starred József Madaras , Tibor Molnár and András Kozák and was written by Jancsó.
Along with The Confrontation ,
The Red and the White would have
premiered at the
1968 Cannes Film Festival , but the festival was
canceled due to the events of
May 1968 in France
Jancsó then made Silence and Cry (Csend és kiáltás) in 1968. The film stars András Kozák as young revolutionary who goes into hiding in the country after the failed 1919 Hungarian Revolution . Kozák is hidden by a sympathetic farmer who is suspected by and constantly humiliated by the White Army. The farmer's wife is attracted to Kozák and begins to poison her husband. Kozák's morality compel him to turn the farmer's wife over to the White Army. This was the first film that Jancsó shot with cinematographer János Kende and was co-written by Gyula Hernádi and Jancsó.
Also in 1968, Jancsó shot his first work in color, The Confrontation (Fényes szelek, 1969). It also was the first film to introduce song and dance as an essential part of the film, elements that would become increasingly important in his work of the 1970s and his recent Pepe and Kapa films. The film stars Andrea Drahota, Kati Kovács and Lajos Balázsovits .
The film revolves around real events that took place when Hungary attempted to renovate its education system after the Communists came to power in 1947. In the film revolutionary students from one of the communist People's Colleges start a campaign to win over students from an older Catholic college. The campaign begins with songs and slogans, but eventually turns to violence and book burning.
Jancsó ended the decade with Sirokkó (Winter Wind) in 1969. The
Jacques Charrier ,
In the late 1960s, Jancsó's films veered more towards symbolism, the takes became longer and the visual choreography became more elaborate. This found full fruition in the 1970s, when he took these elements to extremes. With regards shot-length, for example, Elektreia (Szerelmem, Elektra , 1974) consists of just 12 shots in a film lasting 70 minutes. This highly stylized approach (in contrast to the more realist approach of the 1960s) received widest acclaim with Red Psalm (Még kér a nép, 1971), which won Jancsó the Best Director award at Cannes in 1972. Like The Round-Up, Red Psalm focuses on a doomed uprising.
In the latter part of the 1970s, Jancsó started work on the ambitious Vitam et sanguinem trilogy, but only the first two films, Hungarian Rhapsody (Magyar rapszódia, 1978) and Allegro Barbaro (1978) were made as critical reaction was muted. At the time, the films were the most expensive to have been produced in Hungary. During the 1970s, Jancsó divided his time between Italy and Hungary and made a number of films in Italy, the best known of which is Private Vices, Public Virtues (Vizi privati, pubbliche virtù, 1975), an interpretation of the Mayerling affair . His Italian films, though, have been critically derided. Unlike Jancsó's 1980s films, there has been no general critical reassessment of his Italian works and they remain the most obscure part of his filmography.
Jancsó's 1980s films were not successful and at the time some critics accused Jancsó of simply rehashing visual and thematic elements from his previous films. However, more recently these works have been re-evaluated and some critics consider this period to contain Jancsó's most important works.
The Tyrant\'s Heart (A zsarnok szíve, avagy Boccaccio Magyarországon, 1981) can be considered a transitional film between the famous historical works of the 1960s and '70s and Jancsó's later, more ironic and self-aware films. While it still has a historical setting (a 15th-century palace in Hungary), the film's ontological inquiry groups it more easily with the director's later period. The film deliberately undercuts the audience's ability to construct a notion of reality in the plot, which contradicts itself and includes many post-modern interventions to raise questions about its own manipulative nature.
His 1985 film Dawn (A hajnal) was entered into the 36th Berlin International Film Festival . In 1987 he was a member of the jury at the 15th Moscow International Film Festival .
Later in the decade, Jancsó dispensed with the historical rural
settings of the Hungarian puszta and shifted to contemporary urban
Season of Monsters (Szörnyek évadja, 1986) became the
first Jancsó film with scenes in of contemporary
Although some critics reacted positively (Season of Monsters, for example, won an honorable mention at Venice for creating "a new picture language"), critical reaction generally to these films was very harsh indeed, with some critics labeling them as self-parody. More recently, critics have been kinder to these dense and often deliberately obtuse films, with some considering his 1980s work to be his most compelling, but a full rehabilitation has been hindered by the fact that these works are very rarely screened.
His 1989 film Jesus Christ\'s Horoscope was entered into the 16th Moscow International Film Festival .
1990S AND 2000S
In the early 1990s, Jancsó made two films that thematically can be
grouped with the works from the 1980s, God Walks Backwards (Isten
hátrafelé megy, 1990) and Blue Danube Waltz (Kék Duna keringő,
1991). Although they continue the work of the previous decade, they
are also reactions to the Hungary's new post-Communist reality and
explore the inherent power struggles. After a long break from making
full-length features, Jancsó returned with The Lord\'s Lantern in
In the late 1990s, Jancsó's career revived with a series of
improvised low-budget films that were witty and self-deprecating. As
well as doing relatively well at the Hungarian box office for art
house fare, these films have been popular with a new generation of
younger viewers. The success of The Lord\'s Lantern in
In addition to feature films, Jancsó has made a number of shorts and
documentaries throughout his career and from 1971 into the 1980s also
directed work for the theater.
During the Communist era Jancsó was often criticized for being formalist, nationalist and generally against the Socialist ideology. From the 1990s onwards Jancsó became known for loudly supporting Hungarian liberal party SZDSZ . Many of his claims, like his wry dismissal of Hungary and its history made him a somewhat controversial figure. He also campaigned for the legalization of cannabis .
He married Katalin Wowesznyi in 1949; their two children are Nyika
Jancsó died of lung cancer on 31 January 2014, aged 92. Fellow Hungarian director Béla Tarr called Jancsó "the greatest Hungarian film director of all time."
He received five nominations for the Best Director Award at the
Cannes Film Festival
* The Bells Have Gone to Rome (1958)
* Cantata (1962)
* My Way Home (1965)
* The Round-Up (1966)
The Red and the White (1967)
Silence and Cry (1968)
* Decameron '69 (1969)
* The Confrontation (1969)
* Sirokkó (1969)
* Égi bárány (1970)
* The Pacifist (1970)
* La tecnica e il rito (TV movie, 1971)
Red Psalm (1972)
* Roma rivuole Cesare (TV movie, 1974)
Electra, My Love
DOCUMENTARIES AND SHORTS
* 1960 Three Stars
* 1965 Jelenlét (short)
* 1966 Közelről: a vér (short)
* 1968 Vörös május
* 1970 Füst
* 1977 Laboratorio teatrale di Luca Ronconi (TV documentary)
* 1978 Második jelenlét (documentary short)
* 1984 Muzsika (TV movie)
* 1986 Harmadik jelenlét (documentary short)
* 1997 Hősök tere – régi búnk és... I (short)
* 1994 A kövek üzenete –
* 1950 Kezünkbe vettük a béke ügyét * 1951 A szovjet mezőgazdasági küldöttek tanításai * 1952 A 8. szabad május 1 * 1953 Közös után * 1953 Arat az orosházi Dózsa * 1954 Ősz Badacsonyban * 1954 Galga mentén * 1954 Emberek! Ne engedjétek! * 1954 Éltető Tisza-víz * 1954 Egy kiállítás képei * 1955 Varsói világifjúsági talákozó I-III * 1955 Emlékezz, ifjúság! * 1955 Egy délután Koppánymonostorban * 1955 Angyalföldi fiatalok * 1956 Móricz Zsigmond 1879–1942 * 1957 Színfoltok Kínából * 1957 Peking palotái * 1957 Kína vendégei voltunk * 1957 Dél-Kína tájain * 1957 A város peremén * 1958 Derkovits Gyula 1894–1934 * 1959 Izotópok a gyógyászatban * 1959 Halhatatlanság * 1960 Az eladás művészete * 1961 Indiántörténet * 1961 Az idő kereke * 1961 Alkonyok és hajnalok * 1963 Hej, te eleven fa...
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Cannes Film Festival