Nella corrente

"We only think when we are confronted with problems". This quotation by one of America's leading philosophers John Dewey aptly describes the plight of this film's young protagonists when they find themselves gaping into the huge hole of emotional impasse after the sudden disappearance of one of their close friends. Sodrásban/Current begins in an extremely light manner with scenes of fun, frolic and pranks. At the heart of the film is the fate of a weak person who is either underrepresented or his voice is brutally suppressed. It does not matter whether he is dead or alive. This is what happens to a student Gabi and his hapless grand-mother when they are slighted by his affluent friends. In many ways, Istvan Gaal tackles the general feelings and moods of Hungarian youngsters who were finding it difficult to grow in a post world war II Hungary. Death or the sudden disappearance of a friend is a bitter experience for anybody. However, it becomes unbearable when the loss is caused due to negligence. In Sodrásban/Current it gives rise to long periods of self evaluation, assessment of one's life especially in regards to one's association with a fellow human being. Lastly, film critic Lalit Rao discussed Sodrásban in detail with Mr.Istvan Gaal when they met at New Delhi during 33rd International Film Festival of India 2002.

Of course the film is beautifully photographed and at the time shows that the Hungarian New Wave is beginning. The boys and a girl are playing in the river, there is much of the flesh and the sunlight especially of the boys. We already know that there is something that might happen and the title gives the problem in the water of the Current. There is a great moment when the police talk to them but there is not enough of us thinking of the problems of all the various boys. It is difficult to remember all the boys and especially who was the missing one. It is that there is an echo of Antonioni's, L'Avventura (1960) but nothing really great of this one and if towards the end there is a bit more of a story but it is too late.

a group of young people. a summer day near Tisza. games, dialogues, the short stories of high school graduates and students. and the death of one from them. the old grandmother of Gabi. his friends. the pain. and force of images of ordinary things. a bread on water. the regrets and remorse, arguments, memories, different social classes. and the future who becomes the only reality. after decades, the film of Istvan Gaal remains admirable for its delicate, touching poetry. the poetry of images of simple objects.like frame and bones of story. the poetry of the boat near the bread . the poetry of certitudes of adults. in same measure, the second great virtue is the performance of young actors. especially Sandor Csikor. and, not doubt, the special, unique Hungarian spirit reflected in the admirable manner.