The Door

A few times in ones lifetime they have the great fortune to discover a Jewel of a film. This movie is a Rare Gem. Few films are made with such passion and beauty. You must watch this movie. However you do not watch it as much as you savor it as you would a fine wine.

The synopsis for this movie states, "This is a story of a special relationship between two women, a writer and her maid." I was curious as to why it was so minimized a synopsis. Upon viewing the movie after only 25 minutes it was so clear to me why. There are not words precious enough to describe the synopsis/plot of this story.

Relationships as complex, beautiful and enduring as that which exist between these two women are beyond explanation. Starring Helen Mirren and Martina Gedeck.

First of all this is a Hungarian made film and using Hungarian actors with the exception of Britains Helen Mirren - and it is entirely in English.

You might wonder why Helen Mirren appears in this film and compare her role in 'the Queen' and 'The Tempest". If it was not for Helen Mirren, I doubt this film would have any publicity or marketing potential at all.

Helen Mirren plays an eccentric maid called Emerinc who basically works for a family across the street. She has had an interesting life but lives somewhat reclusive and nobody ever enters her house, hence the title of 'The Door'.

The film is essentially about Emerinc and her relationship with her employers. The story in a sense is very ordinary but this is a very interesting drama because it gives an insight into Hungarian folk life and provides a terrific acting platform for the great talents of Helen Mirren.

I liked the film very much. It is not a thriller in the normal sense but a slow slow drama which tells a story about a lonely woman and her relationship with her villagers.

While there is a definite dearth in good movies around at the moment, this one stands out as different and very watchable. Enjoy!

The more I think about it, the more I think this film serves as a metaphor for many things. Everyone has suffered pain and loss. Everyone has something to hide.

Emerence was not an easy person to get to know. Some people probably thought she was mean. Yet when she got to know about and care about someone, she was fiercely loyal and devoted, in spite of her past pain and loss.

Yet by contrast, there are plenty of people who are friendly and pleasant to all, easy to talk to about nothing substantial, and these people will smile in your face while they don't really give a Damn about you and could white possibly stab you in the back.

she is the star. but in different mode. axis of story, her character is a pillar and window. the performance - long delicate precise chain of nuances is not a surprise. but the impression of new is powerful not only for the Hungarian soul of story, for the normal question why she accepts perform in a Central European film - her origins are not far than Mitteleurope, but for the excellent work. it is a beautiful film and the work of each actor is admirable. but she is the sun ray who gives something unique at all. and this is basic fact who recommend it. a detail who remember not the talent or the prizes, roles or genius but something special because her presence in cast is not a solution for advertising or clue for public but the perfect ingredient for an excellent show. a film about the past as skin of present. and a door. it is all.

Szabo Istvan is not a contemplative filmmaker - which I don't really mean as an insult. A lot of "contemplative" filmmakers, at their worst, seem constipated more than anything (see some of the films of Szabo's younger countryman, Tarr Bela), whereas Szabo can achieve a forward propulsion that can at times be dazzling, as in the films with scenery-chewing actor Klaus Maria Brandeur that were the height of his international fame, or in "Being Julia." The director has a peculiar way of editing that has existed from his early Hungarian features ("Father," "25 Fireman's Street"); scenes often end abruptly, as though he had chopped the end off them, and then run to the next scene. This gives Szabos' films an odd rhythm that is alluring in his best work, but maddening and even incoherent in his less successful efforts.

"The Door" is not a peak; it is hardly a failure either. It shows the Szabo style at its best and worst. The dialogue is flung out by the actors, and can have the kind of hard brilliance that's found in the old screwball comedies (Helen Mirren, in what may be the best performance of her career as an astonishingly cantankerous old cleaning woman, has some especially hilarious insults and bitter, sour-faced advice-dispensing here), but much of it is also simply hard to catch. The movie keeps a fine, sprinting pace most of the way through. It only starts to crumble in the final quarter, at which point I admit I wasn't entirely sure what was going on. And here we have the failure of Szabo's films uncontemplative style. Watching his less successful films it is as if his producer has told him that he absolutely must clock in at under a certain time. "The Door" feels rushed; it hurries to the end, and suffers for it. One feels the same in other films directed by Szabo: "Taking Sides," which is gripping and interesting but finally frustrating, and the ambitious "Sunshine," which attempts to stuff Hungarian history from the late 19th century to the post-war era in under three hours.

Still, "The Door" is almost a great film from one of the last living European film directors of the old school. All of Szabo's work is worth seeking out. It's a shame that the few remaining filmmakers in the grand European style are marginalized - even when they make fine English-language movies with Oscar winners (see also Tavernier's "In the Electric Mist"), it's lucky if these see the light of day in most countries, while young "provocateurs" with nothing to say are lauded in the major festivals. And there's something at my local cinema titled "Hansel and Gretel: Witch Hunters"...