Budapest Noir

This is a well-written, and well-acted movie that is beautifully shot. The plot, set in Budapest right before WWII, is an intriguing crime story that unfolds over the course of the movie and keeps you engaged. I loved seeing the re-enactment of Budapest in the 1930's.

1936 Budapest, with anti-Semitism on the rise. A woman is found dead on the streets in the district of whores. The body has no ID, only a Jewish prayer book, and appears to be dressed above the typical street whore. Intrigued, a newspaper crime reporter chases down leads by whatever means necessary, using contacts, thefts, and blackmail. He travels between high society and the rough streets, fighting off elements who want him to stop.

The "Noir" atmosphere is well rendered, and the portrait of a city with rising anti-Semitism seems realistic. The almost-final link seems to stretch believability (which is why I didn't score it higher), though the journey itself is enjoyable. I saw this at the Toronto Jewish Film Festival, and so was more sensitive to the Jewish background.

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BUDAPEST NOIR is a murder mystery set in the German influenced Budapest of 1936 with Antisemitism on the rise. Superbly directed, acted, and beautifully lensed by master cinematographer Elemér Ragály. This is by far the Best Hungarian film of the year in what has been a very good year for Magyar cinema generally. In terms of genre the very first film of its kind from this country and an eye opener of the first order.

Zsigmond Gordon (Krisztián Kolovratnik) is a tough scruffy unflappable investigative reporter for the biggest newspaper in Budapest in Horthy's increasingly fascist dominated Hungary. He specializes in murder stories but when a nameless hooker he met the night before is found dead on Nagydiófautca ("Big Walnut Street", the heart of the whorehouse district) and he starts following up on this "fait divers" which nobody else cares about or wants to know about he finds he is on to something far bigger than he bargained for. The mystery moves into high gear when the corpus dilecti disappears from the morgue. The coroner blithely consumes his fresh lunch amidst the freshly dead bodies as Gordon plies him with questions. Meanwhile his ex-girlfriend, Krisztina (who once gave him a very hard time, returns from Germany and plunks herself down in his apartment. Gordon has reservations about resuming the relationship but she's a very good photographer and good pictures are just what he needs to back up his investigation. Dialogue: He: (Cynically) "What happened. Didja give another guy a hard time in Berlin?" She: (Dryly) "Yeah. His name was Adolph and he had a little mustache under his nose".

We soon gather that Krisztina's pictures showing the harassing of Jews got her into political hot water and she had to scram fast. However, she has received offers from Britain ... For the time being, since she is down and out, she is willing to work with Gordon to pay her way. The old flames are rekindled with a flourish of passion in a red dark room as critical pictures are developing and a rousing love scene ensues in the midst of all the noir anxiety and suspense. They are now a couple fighting crime together, but there is always an "if" in the air, because this is after all a film noir... with many surprising Jewish twists and turns (a Jewish ladies prayer book turns out to be a significant clue).

This remarkable movie has the feeling of a Dashiel Hammet or Mickey Spillane thriller time-warped to the mid thirties in central Europe. Kolovratnik is outstanding as the tenacious reporter. So scruffy and noir to the core that he seems to be mouthing pure wisecrack English and could pass for Mike Hammer or Sam Spade if he were a gumshoe instead of a journalist. -- Inspired casting. This hitherto little known actor was born for the role. He won't be little known for long.

All other roles are just as sharply etched, notably "Moochy" Zoltan as a restrained informer minus his customary buzzmeg vocabulary, and Kata Dobó as the flaming red-haired madame of an upscale brothel named "Les Fleurs du Mal". A fancy nightclub called The Ring features female boxers in a real ring as the Floor show. The owner is a wealthy coffee importer with high level connections in Berlin. Here the plot begins to thicken. Set pieces such as the frame-up of the hero are so smoothly handled they more or less ooze from the script. Period decor and reconstruction is letter perfect while those familiar with Budapest will recognize many locations even if slightly modified.

The ending is a pure noir shocker which cannot be revealed here. Shrewd savvy direction by Éva Gárdos, a Hollywood industry veteran who directed the Hungarian American film "An American Rhapsody" with Nastassia Kinski and Scarlett Johansson in 2001, is impeccable. One wonders where she has been hiding all this time. Bottom Line: A perfect Hungarian film noir with kosher overtones but it took a Hungarian expatriate to make it! Splendid job. Ten stars are not enough.

For starters, the book upon which the film iss based is creating atmosphere, historical authenticity, character building and suspenseful storytelling, all of which are, surprisingly, missing in the movie. Moreover, the actors play horribly, as if they'd lost forgotten metier, the cinematographer ditto. Hungary used to be driving on the left-hand side - the scenes in the underground are set accordingly but all the cars in the movie have wheels on the left - probably the rental of appropriate cars would've been to expensive. The noir aspect is depicted with tons of smoking and blighted courtyards and nothing else. The former issue may be correct in terms of authenticity, but the inner city of Budapest in the 1930s was still shiny and rather brand-vnew as it was mostly constructed 30 to 40 years upon. All the direct facade and ruined courtyards are the products of the neglect during the socialist period. As to the storyline, the movie is as suspenseful as a dead fish. All in all, it is a missed opportunity, the book, as well as other books in the series, is brilliant, and the movie is simply bad, despite the talented artists and actors, and the huge pile of money spent on it.

Budapest Noir: Budapest, October 1936, dark, smokey, misty, it certainly has the feel of Raymond Chandler Noir but a tad colder. The Hungarian Prime Minister Gombos has striven to align Hungary with Hitler's Germany but now returns home in a coffin after dying in Munich. Anti-Semitism is on the rise and a Budapest City Square is named after Hitler. Gordon (Krisztián Kolovratnik) is a reporter on the crime beat rather than a PI but has many of the attributes of Philip marlowe.

A young woman (Franciska Törocsik) is found dead on a street in the red light district, she has no means of identification apart from a Jewish prayer book. Gordon briefly encountered this woman before and is unwilling to just pass the death off as "just" the murder of a prostitute as the police are keen to do. Joined by his former lover, photographer Krisztina (Reká Tenki) he pursues the case with the determination of a detective rather than just a journalist. Krisztina is all too aware of the rising political tension and Anti-Semitism having just returned from Berlin. As the investigation continues Gordon is warned off by the formerly honest police chief Gellert (Zsolt Anger), he is beaten up by thugs, pistol-whipped by a mobster and Krisztina suffers similar indignities, for this case is bringing them closer to the higher echelons of Hungarian political and business circles.. In a scene reminiscent of Casablanca, Gordon beats up fascists in a bar who object to a "Jewish" song, he is involved in a car chase pursued by communists, yes, this is no ordinary murder. But he goes where the evidence takes him.

The Budapest of 1936 is vividly recreated by director Eva Gardos along with cinematographer Elemer Ragalyi and set designer Pater Sparrow. Tight outdoor shots in present day Budapest avoid the necessity of CGI. Beautiful interiors have been crafted with an elite nightclub providing boxing matches between women over dinner and politicians playing cards upstairs, in a high class brothel women may be chosen from a pictorial menu. This contrasts with street corner card games and bare-knuckle boxing in the streets. Adapted from the eponymous novel by Vilmos Kondor, with the screenplay written by Andras Szeker. 8/10