Senza destino

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.

Critics have compared Fateless to such other award winning films around the same subject, notably Robert Benigni's Life Is Beautiful (aka: La Vita è Bella, 1997), and Spielberg's Schindler's List (1993). Whilst in interview on the UK DVD the director Koltai doesn't mention Benigni's comedy of doom, in passing he does cite the Spielberg, to whom he makes it clear that Fateless is in some degree at least, a riposte. For the director, Schindler's List is "a mistake for those who know what really happened" is his view, which represents "no victory for humanity." The determined un-sentimentality of Koltai's film reflects that view, something which he goes as far as to transpose formally into a particular editing technique - an approach that audiences, more used to a cosy and somewhat predictable view of the Holocaust, will find striking. Koltai's treatment of narrative in his film, characteristically breaking down stark events into short, impressive scenes that fade to black, he terms "a series of études." Such a treatment serves to isolate the protagonists in time, away from the emotionality that a more connected continuity encourages. Indeed for Koltai "time is the... terrible... sentence," and the main motive behind his film, rather than outright shock, and his film has great power precisely through this denial of the usual response.

An easy criticism of Fateless is that conditions of the camp are shown as persistently harrowing, but rarely explicitly violent. The hero Köves is starved, slapped and humiliated, but rarely does the viewer see an on-screen killing, even if the stench of the crematoria is omnipresent. So much is real horror left unseen in fact that at the close of the film, upon his return, there's a scene where Köves is quizzed about the existence of gas chambers by a doubtful citizen at his home station. As a confirmation it is surely unnecessary for the audience, as we've seen them earlier. One suspects that the importance of this brief exchange is instead to assert, once and for all, that Köves acknowledges the reality of the horror he's seen. Whether or not such epic tragedy, and his involvement in it, has enriched his humanity, a la Spielberg, is another matter entirely. By the end, Köves thinks back to his experience almost nostalgically, to the camps where "life was cleaner and simpler" and "where there's nothing too unimaginable to endure." As one might expect from an acclaimed cinematographer, much of Fateless looks superb. Whether its the snowflakes, like the millions of spirits already departed, floating inside the cattle trucks that speed the Hungarian Jews to their fate, or the field of camp mates, paraded mercilessly in the heat, and wavering in their distinctive striped uniforms, Koltai's eye creates haunting moments which remain with the viewer long after the closing credits. Arguably such poetry detracts from the grim reality of the camps in which a good deal of the film is set; but a good deal of the film is shot in muted colours, a blanched scheme, as if the warmth of life has bled out into genocide.

Performances are generally excellent, notably that of Nagy. Interviews on the disc show the young actor's nervousness at some of the more demanding scenes (and the increasing time required spent in make up as his on screen physical deterioration continues) but he plays a role which takes him from the dining room of the family home of Budapest to the death carts of Zief, without faltering. Fateless is an international co-production between Hungary, German and England. All three languages make their appearance, and so - incidentally - does the new James Bond, Daniel Craig, as Köves' liberation approaches. Here playing a concerned GI, who strongly suggests the boy seeks out a new life and a university place in the west, Craig makes a brief, if effective impression. As it turns out Köves' ultimate decision is characteristic of a film that favours reality over idealism.

But for those who seek the unrelenting grimness of camp life depicted as in, say, One Day In The Life of Ivan Denisovitch (1970), or the memorable depiction of the hardening of innocence into vengeful shock (Come And See), Fateless will doubtless prove a slight disappointment. Ennio Morricone's excellent score notwithstanding, which gives events here an occasionally pathetic sheen, this is a film which in many ways raises more issues and questions than it answers, and certainly offers no stereotypical picture of a ghastly time. Instead, by asking the audience to question preconceptions, it stakes claim to being one of the more important Holocaust dramas of our time.

'Fateless' was a never-seen blockbuster in Hungary if we can use the term for Hungarian movies. It attracted so many viewers that no Hungarian film has done before and as it's not surprising that a Holocaust-film like this divides the audience. Thousands of readers had fallen in love with Imre Kertész's Nobel-prized novel, and expectations in this case are very high. However this film does NOT have to make any disappointment and opposite to some critics' opinion it holds the same meaning the novel holds. Don't forget that Kertész is the screenwriter too, it is his true story, a man's who went through all these and kept the respect of life so could find happiness after and during this. He agreed this film's value. The movie has some great actors, wonderful pictures and lots of very good, atmospheric scenes with very real memorable characters. The score is extremely beautiful how it's natural if the composer is Ennio Morricone.

There are weaknesses too, of course, some dialogues, mainly in the beginning of the film are not natural (maybe it comes from Kertész's newness in film-writing), it' very disturbing as some weak acting in a few episodes. Marcell Nagy is not a bad choice for the leading role, he has the look and the power in his eyes but in speech he's not convincing, it drops you out of the atmosphere sometimes but it won't bother the not-Hungarian audience.

'Fateless' is an impressive European masterpiece, Hungary should be proud of it.

Sorstalanság (Fateless) is the memoir of Imre Kertesz's survival of the Shoah. He won the Nobel Prize for literature in 2002, despite being relatively unknown in the West. At the time, many thought that this was "the Primo Levi prize", i.e. making up for the failure of the academy to award the Nobel to Levi, prior to his death in 1987 (the Nobel is never awarded posthumously).

If one has read Levi's Survival at Auschwitz, or Elie Wiesel's Night, many of the details of the story are familiar. But the craft is in the telling, and the director has done an excellent job of bringing a memoir of brutality and survival to life.

A brief synopsis, without spoilers, is that this is the story of a teenaged boy in Budapest in 1944 who is swept up in the Nazi roundup of Hungarian Jewry, and his experience in the concentration camps. (Elie Wiesel was interred in the same roundup.) The story of how Eichmann tried to ransom Hungarian Jewry to the West is interesting background, for those who are intellectually curious. (The allies were afraid to provide materiel and resources to the Nazis, fearing prolongation of the war. A very sad tale).

Making a film of the Holocaust is always a challenge. A director must strive to make the scenes powerful, without being melodramatic. There is also the danger of making another movie over again (eg, Schindler's List; The Reawakening; Europa, Europa). The challenge is to remain faithful to truth, while bringing artistry to the telling of it.

One device which is used to great effect is the use of very brief scenes, perhaps less than one minute, which tell a brief vignette of the daily life in the camps. Some have very little dialog, and they seem random and unconnected, yet together they add to a deeply moving experience.

Many films of the Holocaust are shattering; a few are hopeful. This is neither, but it is a telling of the story that is watchable for most audiences, yet retains the power to affect a viewer. 8 out of 10.

'Sorstalansag' (FATELESS) is an inordinately powerful, quiet journey through a year in Nazi Concentration Camps at Auschwitz, Buchenwald, and Zeitz. Adapted by Imre Kertesz from his first novel, the story is semi-autobiographical as Kertesz spent a year of his youth in Auschwitz as a Hungarian Jew. Though Kertesz alters his novel of the life of one Gyorgy Koves, in a manner he carefully explains in one of the featurettes accompanying this DVD, the observational skills and tenor of his literate mind suffuse this surprisingly quiet depiction of life in a death camp.

We first meet Gyorgy Koves as a curly headed handsome 14-year old youth in 1944 bidding farewell to his beloved father as he departs for a labor camp. Wearing the yellow star of David proudly, Gyorgy has little understanding of what it is to be a Jew, a lesson he will learn in the coming year and affect his perception of the world and his place in it. Gyorgy's mother left his father and his father has remarried and requests that Gyorgy stay with his stepmother while he is away 'for a while' in the labor camp. Gyorgy is conflicted as he loves his mother but he does as his father requests. Almost inadvertently Gyorgy and his friends are taken off a bus and separated by the Nazis into trains bound for concentration camps. Gyorgy remains relatively naive about what is happening: his head is shaved, his worldly goods are absconded, and he begins the hellish life of survival in Auschwitz. Where Kertesz writes differently than other authors who have described Holocaust conditions is in his mindset of Gyorgy: Gyorgy strives to retain a sense of equilibrium in this bizarre new life, seeing certain events as probable errors, mistakes, or simply 'the way things are'. He endures starvation, brutal work, pain from an injured and infected knee, boredom, and observing sights of torture of his fellow prisoners. Though he is walking in a stunned world, he is still able to fine the little moments of 'happiness' because of his youthful outlook and creative mind. He gradually grows to understand what being a Jew means, and while he is unable to fathom all he sees in captivity, he learns that if he can't understand life in a concentration camp, how can he understand life outside either. Gyorgy is literally on the carts moving toward the crematorium when the Allies free the camp. He meets an American (Daniel Craig) who suggests he not return to Budapest, but go to America instead where he can pursue a new existence. Yet Gyorgy's devotion to family, to country, and to being a Jew returns him to Budapest where he finds a destroyed city that had been home and wanders the town square trying to make sense of it all.

As Gyorgy Koves, Marcell Nagy gives a stunning performance, a picture of a child/man who is forced to enter the world of adulthood via the horrors of Auschwitz. Nagy captures the essence of the character with minimal dialogue and maximum use of his body language and eyes. The supporting cast is superb, each creating vignettes in the few moments we see them that burn into our memory. The cinematography by Gyula Pados uses subdued color for the scenes outside the camps and a subtle sepia toned black and white or the scenes within the walls of the terrifyingly real buildings and yards of the camps. The musical score by Ennio Morricone sustains the mood throughout. But it is the director Lajos Koltai whose impeccable sensitivity to Kertesz' writing and vision that makes this long (140 minutes) film a seamless pondering of the passage of time - minute by minute, hour by hour, day by day, etc - that is the essence of Gyorgy's survival of a nightmare 'with little moments of happiness wherever they may happen'. This is a magnificent film, by a gifted crew, and though it contains visuals that will crush your heart, it must be seen to be believed. In Hungarian and German and English with subtitles. Highly Recommended. Grady Harp