Kontroll

CONTROL (Nimród Antal - Hungary 2003).

The film opens with a prologue featuring a real-life Budapest metro official declaring this film is in no way representative of Budapest's underground system, but nevertheless he's in full support (!) of this feature. Probably enscenated by the director, or he must be one hell of a charming fellow to convince the underground authorities in Budapest to allow this kind of endorsement.

This is a smart film. A cynical blender of genres and styles, completely in tune with the 21th century world of chaos, anarchy, despair and poverty we live in. It's a modern language. If this was American, it would define a generation. I'm positive it had this effect on many young Hungarians.

We have a closely confined space here: The Budapest underground rail system. Bulcsú, our main protagonist, is a controller in the Budapest metro. That's his job, leading a motley bunch of rival ticket inspectors. The film never comes above ground. Bulcsú never even leaves the system. He sleeps on the platforms, all he seems to eat or drink is coffee from the machines on the platforms. God knows what he lives on.

The crucial part is in the second half when Bulcsú meets an acquaintance of him on the platform, an middle-aged man who seems like a former professor of him or some kind of mentor. He is clearly embarrassed to run into him in the state he's in. What is it he's hiding from? He seems a well-educated young man. His acquaintance speaks of the promising young Bulcsú. Was he a promising scientist? What was his life like prior to the hellish job he does now? The rest, the extremely aggressive and unwilling passengers, rivalry among colleague ticket inspectors, even a shadowy serial killer who pushes unsuspecting travelers before trains, it's all a sideshow, but a brilliant one. The perfect backdrop for his troubled existence.

Sándor Csányi gives a brilliantly understated performance, perfectly in tune with the daylight-ridden world he lives in.

The silent scene where Bulcsú sits on a large ventilator shaft, echos Ridley Scott, a kind of existential ALIEN-film. Long tracking shots, a neon-lit world, an energetic techno-driven soundtrack. One can argue about the choice of music, the moral stance of the incredibly aggressive passengers but all is perfectly on par with the director's visual ideas. This director is in total control and knows how to express his ideas on film.

Very impressive, make sure you see this.

A small side-note: Nimród Antal, who grew up in LA, is currently finishing his latest film VACANCY, starring Kate Beckinsale and Luke Wilson, scheduled for US release on 20 April 2007 and, I can hardly believe it, a cinematic release in the Netherlands as well, scheduled for 19 July 2007). I expect the worst and hope for the best.

Camera Obscura --- 10/10

Weird, whacky, amusing, unsettling with a thumpingly good soundtrack, Kontroll is a funky cult-style adventure in the Budapest subway system, the scarily unbalanced but mostly good-hearted (and fictitious) ticket inspectors, their adversaries, games of dare, the weirdos that play games of evasion, a gorgeous woman dressed in a teddy bear suit and so many other out-there and unpredictable aspects that you never know whether a seen will make you laugh or jump. Not for the very squeamish. The movie is perhaps slightly longer than it needs to be, but the aesthetic ending more than makes up for the sometimes dissipated storyline. The ingenious lighting and costumes, and the sheer audacity of the script and execution shriek of great things to come from this director.

No bad.. There is a kind of relationship with Besson's "Metro" and Monory's "Meteo", but otherwise "Kontroll" is absolutely original. Sometimes to much the "lyre", but i think the "Kontroll" can be a new hungarian cult-movie.

KONTROLL is a Hungarian film from director Nimród Antal. Yes, that's really his name. The first thing he did when he introduced the film was make fun of the fact that he was called Nimrod, which is great.

The film is about a group of ticket inspectors in the Hungarian subway system, with the focus on at least one in particular (Bulcsú). Each character is extremely likable, even the passengers become memorable characters, as none of them buy a ticket and are chased or shaken down by the inspectors, which is commonplace in Hungary. There is even a young girl in a bear suit (don't ask) that is absolutely gorgeous. The interaction between her and Bulcsú is sweet and funny. They had the kind of chemistry that is difficult to capture on film.

The entire film takes place in the underground, which is effectively presented as a separate world than the one above ground. Some characters even talk about "up there" with a child- like wonder in their voices.

The cinematography is beautiful. Some of the scenes or long panning shots in the underground are breathtaking. Who'd a thunk it'd look so cool down there? You can tell the director has a photography background, by the wonderful shots he selected.

I was also pleasantly surprised by the rockin' soundtrack. Unfortunately, the band that did the music (NEO) are no longer together. Lets hope the director gets the soundtrack released.

This film is not all laughs however. It has a very serious side that is dark, and an ending that makes you think. If this is the kind of film we can expect from Hungary, I'm eagerly anticipating more. I definitely recommend this film. (8/10)

The Independent Film Channel has been screening the full length version of Kontroll (111 minutes by my reckoning), widescreen, with nice clear subtitles. I watched the first 3 minutes and was hooked, open-mouthed, for the duration of the movie. The stunning "railing" sequence, a spine-tingling dolly shot that simply refuses to cut away, is like one of those dreadful nightmares wherein one is being chased by the dark, hooded figure who gets ever closer ... in fact the entire movie is a dream-state, a blossoming of those flowers of evil any city dweller has sensed in a subway late at night, when there are few people around ... it took me back to my days (or nights) working late in the West End of London, and catching the last, late underground train home ... Strange that nobody has commented on the way the movie navigates the low-key sexual tensions between the (almost entirely male) characters, with the leader of the rival "railing" gang making a gay-baiting comment about his antagonist ... and thus it is even more interesting that the young woman - Bela's daughter - is reductively described by many reviewers as Bulscu's 'girlfriend' when she doesn't really fulfil that prosaic a dramatic function, any more than the 'pusher/shadow' is a literal serial killer in the manner, say, of Lustig's 'Maniac'. She occupies a similar space to the magnificent owl, a being that sees what is going on in the darkness (and that also is sacred to Athena, goddess of -among other things- wisdom). And while the subtitles refer to her as wearing a "bear" suit, viewers on IMDb and amazon seem to think she's in a "bunny" suit, while I would swear she's in a kangaroo cozzie. In fact the presence of real or masquerade animals in the movie is mythically interesting - I counted 3 dogs, for instance, and was reminded of the 3-headed dog Cerberus, the Guardian of the Underworld in classical mythology (also a reference Fincher made in 'Se7en') I could write reams about this astounding movie. Dream-like, nail-biting, humane and terrifying in equal measure, it's a work of which all involved in its making must be amazingly proud. And can anyone identify the brilliant young man who plays the dazzlingly choreographed fare-dodger, spraying Tibor's face with ... what ? Crazy Foam ? Shaving cream ? ... and parcouring magnificently down the escalator before meeting his (shocking) fate ?