Vakvagany

This is a film that deserves much more attention then it will probably ever receive. "Vakvagany" is at different times disturbing, thought-provoking, and hilarious. It is a documentary done by a relatively unknown director, and yet it is not only as good as any documentary film you will ever see, but to its great credit, it is also probably as accessible to a mainstream audience as a film like this could be. Hopefully the inclusion in the film of the renowned author and personality James Ellroy (at his wry best) will create an audience for the film; it has a timelessness about it that should allow it to sustain its relevance and impact over time.

Three different perspectives about a series of remarkable old "home movies" that were discovered in a decrepit apartment in Hungary are provided by a filmmaker, a psychologist, and an author. Their vastly contrasting input provides the perfect framework for the astonishing footage that is the foundation of this film. The decision by the director Benjamin Meade to splice the comments of a panel of interviewees with disparate perspectives about a central subject reminded me of Errol Morris's great film "Fast, Cheap, and Out of Control."

In this admittedly controversial but thought provoking film, Benjamin Meade follows a trail to unlock the mystery posed by old `home movie' footage that he purchased in Hungary. There is something unsettling about these home movies, one scene depicting what appears to be piles and piles of tagged pieces of jewelry. This immediately makes one wonder how a person would come to possess this type of thing right after WWII? Is there a connection to the death camps? Meade taps film expert Stan Brakhage, psychiatrist Dr. Roy Menninger and mystery writer James Ellroy for their interpretations of this odd family footage, but it is the tracking and finding of the (now grown) children who appeared in the original home movies themselves that truly takes this film into bizarro land. The audience members' reactions to this brother and sister are the meat 'n potatoes of this film. Do the sins of the father visit the houses of the children? Well........... do they? Georgia Mueller

This is a fantastic piece of filmmaking. Benjamin Meade has taken something as mundane as the home movie and created a stunning work. What is fascinating is that there is so much in this quasi- documentary that is shown. We follow a family, but like all families they have their history and live in a world that has history. They are their own world, and part of the world around them.

The narration- comments that occur durring the film remind us of that. The family has their life, but part of that life is in the world in which they live.

Then, we seek the family today. We wonder what happened to that family that we watched and became interested. This is where we literally jump into the screen. The director meets the son depicted in the home movies. We see what has happened to the son, raising questions about the rest of the family. We seek the daughter. This is where the director Meade shows what kind of film this is. Instead of being a dispassioned reporter, he has involved himself in this family. When there are questions about the wellbeing of the sister, the director involves himself, and the audience via the camera, in finding the answer.

Does he take things too far? That is what each of us have to answer of ourselves. I guess it all depends on whether you can be compassionate with a camera in your hands. But, the audience should be greatful that they were taken on the journey.

It also raises another interesting question. While much of the film takes place in Hungary, there is nothing that says that it could not happen in New York, or California, or Kansas. What do our home movies tell about us. What have we done since we were children? Are there hints in anyone's childhood that says where they are going?

See the film, make your own judgements.

I cannot recommend this documentary, but I'm afraid that, like me, you'll find yourself drawn into it. Watching "Vakvagany" is sort of like rubber-necking when you drive by the scene of an accident; it's human nature to gawk at others' misfortunes. The scenario is truly intriguing: the directors comes across a family's often disconcerting home movies and attempt to track down the children in them. What they find are two badly damaged human beings who belong in a mental institution. The film features three "analysts," who spend far too much time trying to figure out the home movies and the children. They state the obvious, ramble, and over-intellectualize. Worst of all is the utter contempt the directors show for the now-adult children, going so far as to break into one's home. Even the music, some kind of crappy neo-Hungarian cabaret, trivializes the daily struggles of Erno, the male child. Had the directors kept their vile attitudes out of the film, it would have been a solid documentary.

I first came across a reference to this film last year on James Ellroy's website. It sounded intriguing, and I awaited it's release with great anticipation. I was, however, quite disappointed. What we have here is some grainy home movie footage intercut with some specious analysis by Ellroy, the late Dr. Roy Menninger, and the late Stan Brakhage, commenting upon some questionable goings-on among members of the Locsei family in Hungary after WWII. Filmmaker Meade tracks down the siblings in the film (Erno and Etruska) for their comments. This is where 'dreadful' begins: Erno is a mentally disabled, unwashed alcoholic; we are treated to several scenes of him drinking wine the filmmakers have provided to secure his cooperation, long stretches of untranslated Hungarian, and a charming scene of urination in a field. Sister Etruska has her home broken into by the filmakers. We watch her shielding her face from the camera while she repeatedly demands they not invade her privacy. I cannot imagine the cruelty, or at least indifference, that would motivate anyone to pursue this material, much less offer it up for public consumption.

I have viewed other user comments to this film, and appear to be in the minority. But if you like films about disturbed individuals, I suggest Errol Morris' MR DEATH instead.