Fateless - Roman eines Schicksallosen

First of all, I have to tell, that I have not read the book yet, so I don't know how the book is like. But in my opinion the movie, in itself is really good. For me the movie had two major meanings. First, that all of us, who were not there in the camps, will never be able even to imagine how that was like. And the second, that people don't really listen to what you want to tell them, they listen to that, what they want to hear, and if your story does not satisfy them, because they want to hear something else, or because they can't accept your point of view, you will be left alone... And you will be lonely even among people of your own kind. And I think that's why this kid is fate-less, he himself tells at the and of the movie, he has to continue his life, which is not possible to continue, and he has to do this alone, because no one ever will understand him. Even fate has forsaken him.

Critics have compared Fateless to such other award winning films around the same subject, notably Robert Benigni's Life Is Beautiful (aka: La Vita è Bella, 1997), and Spielberg's Schindler's List (1993). Whilst in interview on the UK DVD the director Koltai doesn't mention Benigni's comedy of doom, in passing he does cite the Spielberg, to whom he makes it clear that Fateless is in some degree at least, a riposte. For the director, Schindler's List is "a mistake for those who know what really happened" is his view, which represents "no victory for humanity." The determined un-sentimentality of Koltai's film reflects that view, something which he goes as far as to transpose formally into a particular editing technique - an approach that audiences, more used to a cosy and somewhat predictable view of the Holocaust, will find striking. Koltai's treatment of narrative in his film, characteristically breaking down stark events into short, impressive scenes that fade to black, he terms "a series of études." Such a treatment serves to isolate the protagonists in time, away from the emotionality that a more connected continuity encourages. Indeed for Koltai "time is the... terrible... sentence," and the main motive behind his film, rather than outright shock, and his film has great power precisely through this denial of the usual response.

An easy criticism of Fateless is that conditions of the camp are shown as persistently harrowing, but rarely explicitly violent. The hero Köves is starved, slapped and humiliated, but rarely does the viewer see an on-screen killing, even if the stench of the crematoria is omnipresent. So much is real horror left unseen in fact that at the close of the film, upon his return, there's a scene where Köves is quizzed about the existence of gas chambers by a doubtful citizen at his home station. As a confirmation it is surely unnecessary for the audience, as we've seen them earlier. One suspects that the importance of this brief exchange is instead to assert, once and for all, that Köves acknowledges the reality of the horror he's seen. Whether or not such epic tragedy, and his involvement in it, has enriched his humanity, a la Spielberg, is another matter entirely. By the end, Köves thinks back to his experience almost nostalgically, to the camps where "life was cleaner and simpler" and "where there's nothing too unimaginable to endure." As one might expect from an acclaimed cinematographer, much of Fateless looks superb. Whether its the snowflakes, like the millions of spirits already departed, floating inside the cattle trucks that speed the Hungarian Jews to their fate, or the field of camp mates, paraded mercilessly in the heat, and wavering in their distinctive striped uniforms, Koltai's eye creates haunting moments which remain with the viewer long after the closing credits. Arguably such poetry detracts from the grim reality of the camps in which a good deal of the film is set; but a good deal of the film is shot in muted colours, a blanched scheme, as if the warmth of life has bled out into genocide.

Performances are generally excellent, notably that of Nagy. Interviews on the disc show the young actor's nervousness at some of the more demanding scenes (and the increasing time required spent in make up as his on screen physical deterioration continues) but he plays a role which takes him from the dining room of the family home of Budapest to the death carts of Zief, without faltering. Fateless is an international co-production between Hungary, German and England. All three languages make their appearance, and so - incidentally - does the new James Bond, Daniel Craig, as Köves' liberation approaches. Here playing a concerned GI, who strongly suggests the boy seeks out a new life and a university place in the west, Craig makes a brief, if effective impression. As it turns out Köves' ultimate decision is characteristic of a film that favours reality over idealism.

But for those who seek the unrelenting grimness of camp life depicted as in, say, One Day In The Life of Ivan Denisovitch (1970), or the memorable depiction of the hardening of innocence into vengeful shock (Come And See), Fateless will doubtless prove a slight disappointment. Ennio Morricone's excellent score notwithstanding, which gives events here an occasionally pathetic sheen, this is a film which in many ways raises more issues and questions than it answers, and certainly offers no stereotypical picture of a ghastly time. Instead, by asking the audience to question preconceptions, it stakes claim to being one of the more important Holocaust dramas of our time.

Sorstalanság (Fateless) is the memoir of Imre Kertesz's survival of the Shoah. He won the Nobel Prize for literature in 2002, despite being relatively unknown in the West. At the time, many thought that this was "the Primo Levi prize", i.e. making up for the failure of the academy to award the Nobel to Levi, prior to his death in 1987 (the Nobel is never awarded posthumously).

If one has read Levi's Survival at Auschwitz, or Elie Wiesel's Night, many of the details of the story are familiar. But the craft is in the telling, and the director has done an excellent job of bringing a memoir of brutality and survival to life.

A brief synopsis, without spoilers, is that this is the story of a teenaged boy in Budapest in 1944 who is swept up in the Nazi roundup of Hungarian Jewry, and his experience in the concentration camps. (Elie Wiesel was interred in the same roundup.) The story of how Eichmann tried to ransom Hungarian Jewry to the West is interesting background, for those who are intellectually curious. (The allies were afraid to provide materiel and resources to the Nazis, fearing prolongation of the war. A very sad tale).

Making a film of the Holocaust is always a challenge. A director must strive to make the scenes powerful, without being melodramatic. There is also the danger of making another movie over again (eg, Schindler's List; The Reawakening; Europa, Europa). The challenge is to remain faithful to truth, while bringing artistry to the telling of it.

One device which is used to great effect is the use of very brief scenes, perhaps less than one minute, which tell a brief vignette of the daily life in the camps. Some have very little dialog, and they seem random and unconnected, yet together they add to a deeply moving experience.

Many films of the Holocaust are shattering; a few are hopeful. This is neither, but it is a telling of the story that is watchable for most audiences, yet retains the power to affect a viewer. 8 out of 10.

which word could define the Holocaust ? this film is an answer. for me, one of the most convincing and clear and delicate and honest. the wort experiences as the support for the grow up of a teenager. for self definition. for the build of life. for define the people. for survive. sure, nothing surprising if you do not ignore the science of Istvan Kertesz to give the profound, complete testimony about the experiences of recent past. but the film impress for the art of a 12 years old boy to translate states out of words. the look, the gestures, the steps, the eyes, his eyes, as verdict about a world in need to be itself . and the Central Europe as shadow of past times. I suppose than "Fateless" is the film about Shoah who must see. it is not "Schindler list". and this fact did it useful. because each images represents a word from a precise testimony. about humankind. about the Holocaust. about the price and the fight. to survive.

Saw this film at the AFI Film Festival in Los Angeles. It is an amazingly well made, well acted motion picture about a very difficult subject. The direction and cinematography were excellent. The lead boy was only 12 when the film was shot, yet he delivers a mature, sensitive and deeply emotional performance.

The film is long but very compelling and speaks loudly about man's inhumanity to his fellow man. The message is even more disturbing when told through the eyes of a young teenager who is caught up in the atrocities of the Nazis and their Hungarian allies.

If this film were in English or directed by Steven Spielberg, it would no doubt win numerous awards. Let us hope that "Fateless" is recognized for it's bravery and excellence.