The Red and the White (Csillagosok, katonák)
Miklós Jancsó was commissioned by the Soviets to make a film commemorating the 50th anniversary of the Russian Revolution. A co-production between Hungary and the USSR, the film is set during the Civil War that followed the Revolution, and concerns a group of Hungarian volunteers fighting for the Bolshevik side against White Russian forces. An epic back-and-forth struggle unfolds on a vast, expansive plain; each side commits atrocities as it gains the upper hand. The film showcases Jancsó's gift for panoramic pageantry, intricate camera movement, and geometric abstraction, and his interest in the rituals of power, the mechanics of dominance and submission. Neither the extreme formalism nor the anti-heroic content could have thrilled the Soviets, who first re-edited the film and then banned it.
Red Psalm (Még kér a nép)
Jancsó won Best Director honours at Cannes for this dizzying, dazzling film which recounts, in fervid, balletic, bloody fashion, and with much pageantry (and nudity), a farm workers' rebellion on a large Hungarian estate in the late 19th century. Jancsó's circling, swirling, incessantly moving camera captures the drama with breathtaking kinetic and metaphoric force; this 88-minute film is composed of a mere 28 shots, each demonstrating the director's bold, rhythmic command of the expressive extended take.
Silence and Cry (Csend és Kiáltás)
An elliptical, claustrophobic drama shot in the brilliant, breathtaking long takes that are Jancsó's trademark, Silence and Cry is set after the fall of the short-lived Hungarian Soviet Republic of 1919. A young Red soldier, fleeing the anti-Communist manhunt, takes refuge at the isolated farm of a peasant family. His reluctant hosts are already under police scrutiny for being politically suspect. The local White commander is aware of the soldier's presence but, for personal reasons, keeps it a secret. The soldier discovers that the farmer is being poisoned, slowly, by his wife and her sister.
