A londoni férfi

In "The man from London" an ordinary civilian finds by accident a lot of money originating from a criminal transaction. We regularly find this story element in films, for example in "No country for old men" (Ethan and Joel Coen) from the same year.

How different do these two films elaborate on this basic ingredient. In "No country for old men" the "lucky" finder is being chased by a hit man and the emphasis is on action. In "The man from London" the finder is chased by his own guilty feelings and the emphasis is much more on internal psychological elements.

Needless to say that also in the Tarr film the finder ends up everything but lucky. The film has the usual Tarr elements as slowness, bleakness and beautiful images. Especially the first half hour has striking black and white imagery.

Watching this movie I realised that the mood of a Tarr movie has much in common with the mood of a Kaurismaki movie. Erika Bokk belongs to a Tarr movie just as much as Kati Outinen belongs to a Kaurismaki movie. Music from an accordian is indispensable for a Tarr movie just as much as the Finnish tango is for a Kaurismaki movie.

As beautiful as the images are so artificial and clumsy is the dialogue, especially the dialogue of the English inspector . This is in my opinion the main reason why "The man from London" does not for a single moment succeed in its attempt to be a neo noir Tarr style.

The Man from London (2007) ****

After 7 years Bela Tarr makes his return with an adaptation of a Georges Simenon's story. That Tarr has chosen to make an adaptation of a noir novel means that he has chosen to make his own, very unique take on film noir. That in itself has created one of the first rifts that has become evident in the criticism the film has received from fans of Tarr's previous films.

The film opens with a slow pan up from the water to the bow of a ship. The camera slowly climbs up and through the hatch of a watch tower. We stop behind Maloin (Miroslav Krabot) as he watches a conversation between two men on the ship. The camera follows as they leave. One of the men meets someone else on the docks and they get into an argument, and eventually a fight. One falls in the water, taking a case with him that had been thrown from the ship to the other man, Brown. Brown, stunned that the man isn't resurfacing, takes off. Maloin watches, then goes down and fishes the case from the water. He discovers that it is full of money and then meticulously dries out each bill.

This sets up the plot to which the rest of the film will adhere. This is the first major departure from classical Tarr films. The film is dedicated to this plot and the affect the money and crime has on Maloin. After stopping at the pub for a drink Maloin walks home through a beautifully framed alleyway. He sees a young woman mopping the floor, her dress barely covering her behind. We think he must be gawking, only to discover that he is angry that she, his daughter, is forced to mop the floors at work where everyone can "look at her arse." He hides the money from her and his wife, played by British actress Tilda Swinton.

Tarr creates a surprising amount of tension through out the film. Brown, watches Maloin leave his tower and assumes he must know something. He will follow Maloin for much of the rest of the movie. In the aforementioned scene in the ally, we think the camera might stay with Maloin's daughter (Erika Bok) but it only stops to look, and then whip back as we discover Brown is following.

Mihaly Vig's excellent score and the slow, very deliberate camera movements work wonderfully. One particular scene, which done by any one else, may have came across as quite conventional, but the way it is shot and the brooding score transcend it - Maloin awakes from sleep, he walks to the window, , and looks out. Far below on the street is Brown standing in the only lit spot, under a lamp post. He stands there while the camera slowly zooms in. He then walks off.

The film is filled with many transcending moments, and the camera while moving in typical Tarr fashion, also I think is different in a very important way. In Tarr's other films, the camera moves along as a participant. In The Man from London, the camera is simply an observer. This point is evident in one pivotal scene where Maloin will walk into his shed to confront someone while the camera is forced to wait outside. Long takes and slow movements follow the actors wherever they go. Swinton is captured in one particularly beautiful shot as she is totally absorbed into sunlight light, creating an almost ghostly image. Edits are said to be events in themselves in Tarr's films because they occur so rarely. The fades and extended black screens between takes, though different from his other work, I think work perfectly to capture a distinct mood.

It is important that the acting in the film be mentioned. Though all performances are good, perhaps the best comes from Brown's wife, who has only a few lines of dialog. She is confronted by the police inspector who knows that Brown stole the money and has committed murder since the body has now washed up. The camera stays on her face for several minutes as the inspector describes her husband's crimes and what she must do. She displays such a disciplined level of sadness that is truly incredible. No reaction shot has ever seemed so real or so affecting.

Criticisms I think are based in that the film is so similar in style to Tarr's other films that is somewhat confusing to accept that this is essentially a different film. Tarr claims to be making the same film over and over, but there is a very different tone here. He is essentially making film noir. Many have argued that this is a minor work. I disagree. I think this is a very accomplished piece of film. I truly believe that it will be widely accepted as a great film given time. I don't necessarily think that it is as good as Werckmeister Harmonies, or Satantango, but I think it is overall better than Damnation. That said, I must say that I've loved all of Tarr's films.

Of course there are simply those who cannot handle Tarr's endurance test films. One woman declared loudly that it was the worst film she's ever seen. I think this woman needs to see more films. Tarr makes films outside all convention, and I think that The Man from London is outside of his thus far established work. Any great filmmaker will be judged against his previous work, which I think is a shame. Each film should stand on its own merits, and this has not been the case with The Man from London. Herein lays the answer to its criticisms. If you see this film, forget all you know about film, even Tarr's. Sit, and wallow in the film's magnificent black and white shadowy cinematography; allow yourself to become nothing more than what the camera is asking you to.

...others find fascinating and beautiful. Yes, it's a Béla Tarr film, and as such, it will contain extremely long shots and a ponderous, deliberate storyline. If that's not your cup of tea, then why bother? Buy a ticket to the next Mission Impossible or Bourne Identity.

This film is Tarr's homage to the film noirs of old. Shot in shadowy, low-key black and white, the story concerns a murder, a recovered briefcase full of money, and a slow descent into despondence and guilt. Miroslav Krobot is wonderfully morose as Maloin, the dock worker who witnesses the murder and retrieves the money, and Tilda Swinton is superb as usual as his high-strung wife, but the real star of the film is the cinematography.

Again, like of all of Tarr's work, this is a stylized, demanding film. The first shot lasted nearly 15 minutes, but within that one shot, we bear witness, along with Maloin, to events that drive the narrative of the film. It's as if, perched high in his railway tower, he's seated alongside us in a theater box, watching a deadly play. For a filmmaker to place so much significance in its visual aesthetics, the camera work has to be expert, and cinematographer Fred Kelemen proves up to the task, painting everything in a brooding chiaroscuro. It truly is a mesmerising, strangely compelling, even somewhat alienating piece of work, and a treat for the viewer who can afford it the patience.

I hadn't seen a film by Bela Tarr before, and at first I was put off by the slow, deliberate style - the first scene took about 15 minutes and was agonizingly slow. The whole picture moved at the same lethargic pace and I thought it was remindful of an Ingmar Bergman film. I never felt comfortable with Bergman as I thought his style pretentious, but I got a different feeling from watching "The Man From London".

The slow pace, as in the languid opening shot, accentuates the prevailing mood of the film, and lends motivation (or lack of) to the protagonist Maloin. He is a simple man who has resigned himself to his fate, a boring, tedious existence as a night watchman with a shrewish wife (Tilda Swinton, in a role that is too small), until his life is turned upside down when he witnesses a murder from his watchtower. The picture is full of long, lingering closeups and long shots and the characters speak in the same deliberate manner as the pacing of the film.

I suppose if he had wanted to, Tarr could have edited out about 30 minutes of film to speed it up, but he would have ruined the overall effect of the picture, which exemplifies the predominant mental state of Maloin and the struggle with his conscience that has thrown his life into chaos. You have probably seen films you would like better but you have never seen one as offbeat or as memorable as "The Man From London". Serious movie fans ought to include this one in their respective film canons - it is very worth seeing will certainly throw your list into disarray.

I saw this at a sold-out screening at the Melbourne International Film Festival and was surprised at how good it was, considering I'd heard some negative or indifferent murmurs about it. It goes to show that you never can judge a film until you've seen it yourself. This is my first Béla Tarr film.

The Man From London is clearly a highly stylised homage to film noir of the 1940s. The lush black and white photography, using classic noir shadows and imagery is a feast for the eyes. The camera work is slow, fluid and dynamic, with very long takes in which little seems to happen. Combined with a mesmerising score slightly reminiscent of Angelo Badalamenti's sounds on Twin Peaks, a mood of ever-growing suspense and menace is created that powerfully engages from start to finish.

The basic premise of the film is that Maloin, a night harbour worker (played by Miroslav Krobot) witnesses some treachery between a disembarking passenger of a ship (the man in the title) and another man on-shore. A death may have occurred and when Maloin investigates, he becomes involved in an intrigue from which he cannot extricate himself.

Tilda Swinton plays Maloin's wife, though her voice is dubbed over in Hungarian. The film was part-English produced, so maybe a name known to English-speaking audiences was required to market the film. The role was small, and I always find Swinton an interesting actor, so it was a curiosity to see her in this role. In general the tired and worn-out characters looked terrific on film, with a timeless quality that matched the aesthetics of the decaying town.

This is not a film for everyone, as it requires some patience and appreciation for aesthetics over action, and there is not a whole lot of the latter. While the film's major strength is its visuals, they serve to subtly drive the slow-burn suspense. I was surprised when people started walking out of the film, first one by one, then after an hour about twenty or so walked out in unison. I estimate 60 people left, around 10% of the audience. I was equally surprised that so few walked out of Inland Empire (I counted only four, about 1% of the also sold-out screening a few nights earlier).

Still, what's a good film or a good film festival without walk-outs? Many of my favourite films have had them. I have read that this is not one of Tarr's best films. Well, I loved it and must seek out his others.