Être sans destin

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.

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.

There have been many films about the holocaust but none quite as intimate and personal as Hungarian director Lajos Koltai's Fateless. Based on the semi-autobiographical novel by Nobel Prize winner Imre Kertesz, Fateless is a hauntingly beautiful film whose narrative unfolds in the form of miniature vignettes rather than peak dramatic moments. The film is seen from the perspective of 14-year-old Gyuri Koves (Marcell Nagy), who spent a year in Buchenwald during the last days of World War II and who provides the narration. Unlike most films about the holocaust, it suggests that happiness and beauty can co-exist along with deprivation and despair.

Marcell Nagy is outstanding as Gyuri, the young man who moves from a childlike innocence to world-weariness in the span of one year. With his soulful face and expressive eyes, he is almost a detached observer, quietly pondering his fate. He is, in the Sufi saying, in the world, but not of it and the film unfolds as in a lucid dream that blurs the lines between appearance and reality. Koltai captures this almost matter-of-fact quality as Gyuri says goodbye to his father (Janos Ban) who has been ordered to work in a Nazi labor camp. Because Hungarians did not feel the full brunt of Nazi persecution until the Nazi takeover in 1944, Gyuri thinks his father is just going to have to work hard and that nothing will happen to him. Neighbors and relatives who reassure him that everything will be all right do not further his grasp of reality.

When the boy and his friends are detained on a bus on the way to work, he learns quickly that "his carefree childhood days are now over". Still not comprehending the magnitude of what is taking place, he is annoyed but not frightened and does not seize the opportunity to escape offered by a friendly cop. Even when he arrives at Auschwitz, he sits on the ground shaven and wearing a striped uniform, talking with friends as if he was in a school playground during recess. When Gyuri discovers that "he could be killed at any time, anywhere", he attains a sort of spiritual freedom and his determination to survive is increased. Pretending to be sixteen, Gyuri escapes the gas chamber and is sent to Buchenwald and then to a smaller camp.

The scenes of murder, death, and dying at the camps are thankfully left to the imagination and the film focuses on Gyuri's personal reactions to what he sees around him. Koltai, a cinematographer for twenty-five years, creates a visual cinematic poem in which his color palette is so muted that we experience the mud and the atmosphere of cold and gray almost viscerally. Sadly, we watch Gyuri's transformation from the confident teenager we saw at the beginning to an emaciated number, his leg so swollen and infected that he can barely walk. In voice-over, however, he talks about the hours between work and the evening meal as one of quiet reflection and about the joy in discovering a piece of meat or potato in his soup. He is also sustained by a friend he develops in fellow Hungarian Bandi Citrom (Aron Dimeny) who protects him and tries to teach him the skills of survival. Bandi, ever the optimist, proclaims, "I will walk down Nefelejcs Street again" One of the surprises in the film is the treatment Gyuri receives at what looks like a camp hospital.

He is cleaned, allowed to sleep alone in a bed and taken care of, a set of circumstances not usually associated with extermination camps, yet based on Kertesz' actual experience. The most discussed aspect of the film, however, takes place in Budapest after the liberation. Gyuri feels more alone than he did at Buchenwald and even expresses a sort of homesickness for the camaraderie he felt at the camp. Friends and neighbors who were not in the camps cannot understand what it was truly like and Gyuri cannot explain it. Even if he could, no one really wants to hear anything that rattles their preconceptions.

He rebels at playing the role of the victim and says, "there is nothing too unimaginable to endure". When asked about the atrocities, he talks of his happiness. "The next time I am asked", he says, "I ought to speak about that, the happiness of the concentration camp. If indeed I am asked. And provided I myself don't forget". His "happiness", according to Kertesz, who also wrote the screenplay, is not a form of denial but an act of rebellion against those who do not see him any longer as a human being, only as a victim. It was a way of assuring his responsibility, of defining his own fate rather than having others decide it for him. For me, it also added a portal into the sublime.

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.

I saw this on a trip recently to Hungary and I have to say that I was really impressed. It stands up against the bigger movies made regarding this subject, and it stands proudly. It didn't try to tackle the enormity of the Holocaust as one user suggested, rather it tried (and succeeded in my opinion) in tackling the story and fate (or lack thereof) of a young Jewish- Hungarian boy during the second world war. How would one explain this sudden shift in reality to a boy who is still in the process of maturing? How much can he possibly understand? When the ordeal is finished, could anything be "real" again afterwords? I thought the subject matter was challenging enough for it to warrant a second viewing.

Marcel Nagy is spectacular, the director chose an amazing face and voice for the part, the character's attitude towards what's happening is shockingly mature and disaffected. He doesn't break down crying, or screaming , "why?!", he simply accepts that this has happened and tries to deal with it almost entirely inside his head. He is an introvert, speaking softly, and politely to those around him. He doesn't ask too many questions because he already thinks he knows all the answers. And these terrible answers are projected to the audience with the use of his powerful blue eyes, and his vital facial expressions (there are few scenes where the boy looks directly into the camera, and makes eye contact with you, the audience and I almost burst out crying..)

The look of the film was what made the rest so sublime, the grays and blues were so dis-enchantingly beautiful, as horrid in a way it is to call a Holocaust film beautiful, the effect is more of seeing what is inside the mind of an innocent; the dramatization of color desaturating could be considered the gradual removal of that innocence. The best way I could describe this is a 'dreamy nightmare', also so fitting an aesthetic, since a delirium sets in to those suffering, and those watching them suffer - it all becomes so heightened and insane; the men and women here are being stripped of the appreciation of beauty, but kindness among these prisoners remain, and that seems a unique aspect to this story. The fact is that Kertesz's memories include these acts of kindness, and camaraderie, rather than remembering back to it as something so completely horrendous, as as to be denying these victims the right to be human. But they are. In this film, there are no extreme acts of violence or mayhem (some minor, but no guns mowing down innocents like Schindler's List), just a quiet, reflective look at the human condition, and the innocent youth caught in the web of evil's banality.

I think the main problem people had with this film was they were expecting something... a little more dramatic, while this is a very quiet, very slow film that will appeal to those who work on those frequencies.