Filmvilág, 1996 (39. évfolyam, 1-12. szám)

1996-05-01 / 5. szám

Perczel Zita 1918-1996 Önéletrajzában többször említett sze­rencséje halála pillanatáig kísérte. Az volt a kívánsága, hogy Budapesten temessék el. Éppen Budapesten for­gatott, amikor a kór végleg legyűrte. Mióta olyan fergeteges sikere volt a Józsefvárosi Színházban a Forgószín­padban, és Kecskeméten a Nagy­mama címszerepében, azóta egyre jobban szeretett hazajönni. Akkor élt igazán, ha dolgozhatott. Gábor Pál portréfilmet készített vele Tímár Józsefről. Játszott Mészáros Márta Örökségé ben, András Ferenc Dög­keselyűjében, Sőth Sándor A nagy postarablásában. Szívesen dolgozott Ragályi Elemérrel és Kardos Ferenc­cel is. Sokszor szerepelt a televízió­ban - éppen halálának estéjén búcsúz­hattunk tőle a Kisváros egyik epizód­jában. A magyar színpad és film nagy sztár­ja volt. A Nemzeti Színház (1933-34), majd a Vígszínház (1935-36) tagjaként töltött évek alatt filmszínészként is egy­re sikeresebb lett. Többek között Gaál Béla Az új rokon és Budai cukrászda, valamint Székely István Meseautó és Lovagias ügy című filmjeinek főszere­pét játszotta. 1937-től 1940-ig, majd az amerikai évek után 1951-től újra Pá­rizsban volt ünnepelt színpadi színész­nő. 1964-től Rómában élt. Gondosan ápolta a magyar kultúrához fűződő kapcsolatait, elevenen élt benne a ma­gyar nyelv. Nem volt a Római Magyar Akadémiának olyan rendezvénye, me­lyen ne vett volna részt. Magas, ele­gáns, ősz kontyos alakja, okos tekinte­te, intelligenciája, szakmaszeretete mindig hiányozni fog. Bárdos Judit CONTENTS DOCUMENTARIES Subjective vision and presentation marked the documentary films that were produced in Hungary for many years past. Deliberately biased in favour of the underprivileged and the downtrodden, they displayed a preoccupation with the situation of the individual, disregarding the generally applicable truth that could be concluded from it. It is widely believed that objective, factual documentaries that get to the root of problems would be more in tune with the realities of a society in transition from communism to a market economy. Others contend that docu­mentary objectivity is a dangerous illusion, and insist that car­rying on in the tradition of „human-scale” documentary films is the only fair and fitting course to follow. A string of articles investigate the pitfalls, some new, others familiar, that Hungarian documentary-makers had best avoid. György Simó gives an account of a roundtable on this topic Visible, invisible p. 8). Should documentary films stick to being factual, or can they afford to stray into art-house territory? Gergely Bikácsy ponders the question (A Debate on the Matter of Documentaries, p. 4). An Azure Simulacrum by Miklós Jancsó, p. 6. Blood-Covered Pieces on a Chessboard, p. 12, is Ferenc Dániel’s view of the BBC’s Yugosla\’ia. In The Man with the Camera Running Behind ’em. Erzsébet Bori takes a searching look at East-West documentaries, p. 14. László F. Földényi analyses Bunuel’s vision, taking for the title of his contribution the Hungarian version of LB’s Las Hurdes, p. 17. FESTIVALS Big Expeditions, Small Discoveries, p. 19, is József Tamás Reményi’s (re)view of the Berlin filmfest; Gergely Bikácsy’s of the London filmfest, p. 26. SMOKE Paul Auster was the 1980s star of American postmodern prose­writing - and a lodestar and paragon for filmmakers: his metafictional linguistic-philosophy-imbued detective stories induced many a director to attempt to film them, but those simple stories about common people - everyday fairy tales from the self-contained world of the gigantic village that is Brooklyn - baffled all their attempts. András Csejdy discuss­es Wayne Wang’s Smoke and Wang’s and Auster’s Blue in the Face, p. 29. Francois Forrestier’s Conversation with Auster is on p. 32. HITCHCOCK In North by Northwest, Cary Grant took a Greyhound bus from Chicago to Indianapolis on Route 41. He broke off his journey, getting off at Prairie Stop. As it turns out at Greyhound’s Chicago terminus, no stop so called is in existence. Here, in a sort of travel diary, a Hungarian admirer tells of a tour on which he visited locations of Psycho, Vertigo and Birds. Nándor Bokor’s On the Hitchcock Trail, p. 33. BONAPARTE In Napoleon. Media Star, p. 40, Péter Ádám and nona Kovács survey l’Empereur as a favourite figure of screen. A MAGYAR CENTENARY In The Motion Picture Comes to the Hotel, p. 44, Péter Molnár Gál recalls the first-ever movie screening in Hungary. TELEVISION A Circle Expanding Inwards (on Hungarian TV’s End-of- Century Talks series with noted figures) by Gábor Gelencsér, p. 45. In Exceptions Are Always Found, p. 48, Péter Sneé talks with Jolán Árvái on FMS Young Artists Studio of Magyar Television. KIESLOWSKI The Transparent Man by István Kovács is a tribute to Krzysztof Kieslowski, p. 50. REVIEWS Good Film, Poor Title, p. 52, György Spiró looks at Péter Gothár’s (Time Stands Still, The Outpost) Letgohang Vaska, first prizewinner feature at this year’s (27th) Hungarian film festival. Set in the Soviet era, this fanciful tale of the adventures of two rogues is unfolded in a kaleidoscopic succession of vast panora­mas alternating with scenes of slapstick comedy. It draws on the finest tradition of Russian literature, showing influences of Gogol, Zoschenko, and Bulgakov. In To Speak About the Unspeakable p. 54, Sándor Lukácsy reviews Judit Elek’s Speak About the Unspeakable. On a sentimental pilgrimage fifty years on, Jewish writer Erie Wiesel retraced the long journey he made as a boy of 15, after his forcible removal from his birth­place in the Carpathian Mountain region, to the Nazi death camps at Aushwitz, Birkenau and Buchenwald. The film is the story of his 1993 pilgrimage. In Lagerfeld Gets Away With It, p. 55, Zoltán Ardai assesses Robert Altman’s Pret-A-Porter. FILMS OF THE MONTH p. 57. CLEANINGS p. 60.__________________________________ ON THE COVER: Harvey Keitel in a scene from Wayne Wang’s and Paul Auster’s Blue in the Face 3

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