István Szabó
István Szabó | |
---|---|
Hungarian | |
Alma mater | University of Theatre and Film Arts in Budapest |
Occupation | Film director |
Years active | 1959–present |
István Szabó (Hungarian: [ˈsɒboː ˈiʃtvaːn]; born 18 February 1938) is a Hungarian film director, screenwriter, and opera director.
Szabó is one of the most notable
He achieved his greatest international success with
In 2006, weekly Hungarian magazine Élet és Irodalom (Life and Literature in English) published an article revealing that Szabó had been an informant of the Communist regime's secret police.
Life
Born in Budapest, Szabó is the son of Mária (née Vita)[1] and István Szabó, the latter of whom was a doctor from a long line of doctors.[2] Szabó came from a family of Jews who had converted to Catholicism, but were considered Jews by the Arrow Cross Party (Hungarian fascists). They were forced to separate and hide in Budapest sometime between 15 October 1944, when Nazi Germany deposed the Hungarian government for trying to sign an armistice with the Allies, installing the Arrow Cross in power, and 13 February 1945, when the Soviets defeated the German Army in Budapest. Szabó survived by hiding at an orphanage, but his father died of diphtheria shortly after the German defeat. Memories of these events would later appear in several of his films.[3]
In 2006, weekly Hungarian magazine Élet és Irodalom (Life and Literature in English) published an article revealing he had been an informant for the Communist regime's secret police.[4] Between 1957 and 1961, he submitted 48 reports on 72 people, mostly classmates and teachers at the Academy of Drama and Film in Budapest. According to historian István Deák, in only one case did Szabó's informing cause significant damage, when an individual was denied a passport. After the article was published, over 100 prominent intellectuals, including some of those about whom Szabó had made reports, published a letter of support for him. Szabó's initial response to the article was that informing had been an act of bravery, since he had intended to save the life of his former classmate Pál Gábor. When this claim turned out not to be true, Szabó admitted that his true motive had been to prevent his own expulsion from the Academy.[5] Author Anna Porter asserted that "whether this is true or not is impossible to prove as not much has remained of Szabó's file and as revelations about the murky past of prominent figures such as Szabó have become mired in controversy."[6]
In a 2001 interview, Szabó revealed that he believes in God, but considers the subject personal and does not like to talk about it.[7]
Career
Pre–1964
As a child, Szabó wanted to be a doctor like his father. By the age of 16, however, had been inspired by a book by Hungarian film theorist Béla Balázs to become a film director.[2] After finishing high school, he was one of 11 applicants out of 800 who were admitted to the Academy of Drama and Film in Budapest, where he studied under Félix Máriássy, who became something of a father figure to him. His classmates included Judit Elek, Zsolt Kézdi-Kovács, János Rózsa, Pál Gábor, Imre Gyöngyössy, Ferenc Kardos, and Zoltán Huszárik. During this period, Szabó directed several short films, most notably his thesis film, Koncert (1963), which earned a prize at the International Short Film Festival Oberhausen. Subsequently he was apprenticed to the head of the Hunnia Film Studio, János Herskó, which resulted in an opportunity to direct his first feature film at the age of 25, rather than having to spend ten years working as an assistant director.[8]
The beginning of Szabó's career coincided with the beginning of a “new wave” in
Hungarian films, 1964–1980
Szabó's first feature film,
Father (1966) is a coming-of-age story that displays Szabó's increasing fascination with history and his childhood memories. The plot covers events from the Arrow Cross Party dictatorship to the Hungarian Revolution of 1956, revolving around the disorientation and self-awareness of a generation that had to grow up without a father figure in wartime. The main character replaces the image of his absent father with fantasy images that change over time. These events take place during a period of his life when he begins to transition to adulthood. Finally, he is able to face the reality of his situation and comes to understand that he has to rely on his own strength rather than that of an idealized father figure.[12] The film won the Grand Prix at the 5th Moscow International Film Festival[13] and the Special Jury Prize at Locarno, and established Szabó as the most internationally famous Hungarian filmmaker of his time,[14] as well as an auteur in the European film tradition. In 2000, Father appeared as number 11 on a list of the 12 best Hungarian films according to a group of Hungarian film critics.[15]
In Budapest Tales (1976), Szabó traded his earlier, complex narrative structures, characterized by flashbacks and dreams, for a more linear one. At the same time, he traded the literal representation of history for an allegorical one. The film follows a disparate group of people who come together on the outskirts of an unnamed city at the end of an unnamed war to repair a damaged tram and ride it into the city. Allegorically, the film was interpreted by critics variously as representing Hungarian history specifically or universal human responses to war and reconstruction more generally.[17]
Szabó's first four full-length films featured the actor András Bálint in roles based on Szabó himself. While Bálint also appeared in Budapest Tales, this was Szabó's first feature film that did not contain a significant amount of autobiographical material. He did not make another autobiographical film until Meeting Venus, eighteen years later.[18]
Budapest Tales was even less successful than 25 Fireman Street at the box office and festivals. According to author David Paul, this may explain why Szabó shifted gears even more dramatically in his next film,
International co-productions featuring Brandauer, 1981–1988
Szabó's next three films constituted a new phase in his career—moving away from Hungarian productions, in Hungarian, written by Szabó alone, and featuring Bálint, and moving toward international co-productions, in German, written by Szabó in collaboration with others, and featuring Austrian actor Klaus Maria Brandauer.[21] The informal trilogy—Mephisto (1981), Colonel Redl (1985) and Hanussen (1988)—features Brandauer in a series of roles based on historical figures who, as represented in the films, compromised their morals in order to climb the ladder of success within a context of authoritarian political power. In Mephisto, based on a novel by Klaus Mann, Brandauer plays an actor and theater director in Nazi Germany, a role based on Mann's former brother-in-law Gustaf Gründgens. The film won the Academy Award for Best Foreign Language Film, and the award for Best Screenplay at the Cannes Film Festival, and greatly increased Szabó's international prestige.[22]
In
1991–present
After his Brandauer trilogy, Szabó continued to make international co-productions, filming in a variety of languages and European locations. He has continued to make some films in Hungarian, however, and even in his international co-productions, he often films in Hungary and uses Hungarian talent.[8]
Meeting Venus (1991), the first of several English-language films directed by Szabó—and his first comedy—is based on his experience directing Tannhäuser at the Paris Opera in 1984. Niels Arestrup plays a Hungarian directing the opera at an imaginary pan-European opera company, and encountering a multitude of pitfalls that symbolize the challenges of a united Europe.[24]
With Sweet Emma, Dear Böbe (1992), Szabó returned to a strictly Hungarian subject—this time, however, focused on a contemporary, rather than historical, social problem. The film follows two young, female teachers of Russian facing the obsolescence of their specialty after the fall of the socialist government, as well as a variety of types of sexual harassment in the new Hungary. The film won the top prize at the Berlin Film Festival.[25]
Sunshine (1999)—a three-hour historical epic, and an English-language, international co-production—was viewed by many critics as Szabó's most ambitious film, and, along with Mephisto, his most important. Hungary's Jews had figured in either a marginal or coded fashion in several of Szabó's earlier films, produced during the socialist period when discourse around the history of the country's Jews was more circumscribed. In Sunshine, for the first time, Szabó focused explicitly on this aspect of Hungarian history, which he himself had experienced as a child during the Arrow Cross dictatorship. Ralph Fiennes plays three generations in the Sonnenschein family as they experience the trials of twentieth-century Hungarian Jewish history, from the late Austro-Hungarian Empire through the Holocaust to the 1956 Revolution.[3]
Several characters are based on real people, including the
An example of an extremely positive review was that of Roger Ebert of the Chicago Sun-Times, who called it “a movie of substance and thrilling historical sweep.”[29] A. O. Scott of the New York Times had a more mixed reaction, writing that, by the end, “the movie has accumulated sufficient power and momentum to erase the memory of its earlier awkwardness. It shows such sympathy for its characters, and approaches its subject with such intelligence, that it's easy to forgive the clumsy editing, the haphazard insertion of black-and-white newsreels, and the hyperventilating sexual ardor that seems to be a Sors family curse.”[30]
In
In 2005, Szabó was awarded the Lifetime Achievement Award at the 27th Moscow International Film Festival.[32]
The Door (2012), an English language production based on a Hungarian novel by Magda Szabó (no relation), focuses on the relationship between an affluent novelist (Martina Gedeck) and her poor, mysterious maid (Helen Mirren).[35] It opened the 13th Tbilisi International Film Festival[36] and won the Michael Curtiz Audience Award at the Hungarian Film Festival of Los Angeles.[37]
Szabó's frequent collaborators have included actors András Bálint, Klaus Maria Brandauer, Péter Andorai, and Ildikó Bánsági; cinematographer Lajos Koltai; and screenwriters Péter Dobai and Andrea Vészits.
Themes
Several interconnected themes run through Szabó's films, the most common being the relationship between the personal and the political or historical. On the personal level, his first three feature films deal with
A related theme is the moral compromises individuals make in order to succeed in immoral political systems. In an interview about Taking Sides, Szabó said, “I don't think that life is possible without making compromises. The question is only one of limits: how far to go. When one crosses the line, then the compromise starts to be a bad, even deadly, one.”[39] This theme is dominant in the Brandauer trilogy and, as Istvan Deak points out, may be related to Szabó's own collaboration with the Communist secret police.
Another closely related theme is the arts—most often theater, but also music and film itself. In several of Szabó's films—most famously in Mephisto—artists become caught up in conflicts around politics, role-playing, and identity.[40]
Style
Szabó's early films—culminating in Lovefilm and 25 Fireman Street—were influenced by the French New Wave in their experimentation with flashbacks, dream sequences, and unconventional narrative structures built on these techniques.[41]
Szabó emphasizes iconography in his films, insofar as he tends to invest certain objects and places with symbolic meaning. Tram cars play this role in many of his films, and one becomes the central image in Budapest Tales.[42] Budapest itself plays an important role in many of his films, including scenes of the Danube and of buildings Szabó lived in when he was a child.[21]
Acting also plays a key role in Szabó's films, as he values psychological complexity in his central characters.[43] In his first several features, he tended to use the same lead actors over and over—first András Bálint, then Klaus Maria Brandauer. Consistent with this focus on acting, he frequently employs long close-up shots to emphasize the play of emotions on the faces of his characters.[40]
Other work
In addition to writing and directing films, Szabó has also served in a variety of other capacities in the film industry, including writing and directing
Szabó has directed several operas, including
Filmography
Year | Title | Country | Length | Director | Writer | Other |
---|---|---|---|---|---|---|
1959 | A Hetedik napon | Hungary | Short | Yes | Yes | |
1960 | Bill Poster | Hungary | Short | Yes | Yes | |
1961 | Variációk egy témára | Hungary | Short | Yes | Yes | |
1962 | Délibáb minden mennyiségben | Hungary | Short | Yes | ||
1963 | Párbeszéd | Hungary | Feature | Yes | Assistant Director | |
1963 | You | Hungary | Short | Yes | Yes | Producer |
1963 | Koncert | Hungary | Short | Yes | Yes | |
1965 | Artists | Hungary | Short | Yes | ||
1965 | Traffic-Rule Tale for Children | Hungary | Short | Yes | Yes | |
1965 | Age of Illusions | Hungary | Feature | Yes | Yes | |
1966 | Children's Sicknesses | Hungary | Feature | Script Editor | ||
1966 | Father | Hungary | Feature | Yes | Yes | Actor: voice of film director |
1967 | Red Letter Days | Hungary | Feature | Script Editor | ||
1967 | Piety | Hungary | Short | Yes | Yes | |
1970 | Lovefilm | Hungary | Feature | Yes | Yes | |
1971 | Budapest, Why I Love It (collection of short films: “The Square,” “A Mirror,” “Danube, Fishes, Birds,” “Portrait of a Girl,” “Dream About a House”) | Hungary | Short | Yes | Yes | |
1973 | 25 Fireman Street
|
Hungary | Feature | Yes | Yes | |
1977 | Várostérkép | Hungary | Short | Yes | Yes | |
1977 | Budapest Tales | Hungary | Feature | Yes | Yes | |
1978 | Places on Sunday | Hungary | Short | Yes | Yes | |
1978 | The Hungarians | Hungary | Feature | Actor: Abris Kondor | ||
1980 | Bálint Fábián Meets God | Hungary | Feature | Actor: András | ||
1980 | Confidence | Hungary | Feature | Yes | Yes | |
1980 | The Green Bird | West Germany | Feature | Yes | Yes | |
1981 | Mephisto | West Germany, Hungary, Austria | Feature | Yes | Yes | Actor: Theatre party attendant |
1985 | Colonel Redl | Yugoslavia, Hungary, Austria, West Germany | Feature | Yes | Yes | |
1987 | Laura | Hungary | Feature | Consultant | ||
1988 | Hanussen | Hungary, West Germany, Austria | Feature | Yes | Yes | |
1989 | Túsztörténet | Hungary | Feature | Actor: Fõorvos | ||
1990 | Eszterkönyv | Hungary | Feature | Artistic Producer | ||
1991 | Meeting Venus | UK, Japan, USA | Feature | Yes | Yes | |
1991 | Sweet Emma, Dear Böbe – Sketches, Nudes | Hungary | Feature | Yes | Yes | |
1993 | Prinzenbad | Germany, Hungary | Feature | Producer | ||
1994 | Utrius | Hungary | Feature | Actor | ||
1995 | Esti Kornél csodálatos utazása | Hungary | Feature | Consultant | ||
1996 | A csónak biztonsága | Hungary | Short | Yes | ||
1997 | Franciska vasárnapjai | Hungary | Feature | Actor: Orvos | ||
1998 | Place Vendôme | France | Feature | Actor: Charlie Rosen | ||
1999 | Sunshine | Germany, Austria, Canada, Hungary | Feature | Yes | Yes | Lyrics: “Please God May We Always Go on Singing” |
2001 | Taking Sides | France, UK, Germany, Austria | Feature | Yes | Actor: Passenger on train | |
2002 | Ten Minutes Older: The Cello (segment: “Ten Minutes After”)
|
UK, Germany, France | Feature | Yes | Yes | |
2003 | The Colour of Happiness | Hungary | Feature | Consultant | ||
2004 | Európából Európába (segment 2) | Hungary | Short | Yes | ||
2004 | Being Julia | Canada, USA, Hungary, UK | Feature | Yes | ||
2004 | Shem | Israel, UK | Feature | Actor: Elijah | ||
2006 | Rokonok | Hungary | Feature | Yes | Yes | Actor: voice of Mr. Menzel |
2006 | I Served the King of England | Czech Republic, Slovakia | Feature | Actor: Stock marketeer | ||
2012 | The Door | Hungary | Feature | Yes | Yes | |
2020 | Zárójelentés | Hungary | Feature | Yes | Yes |
Television
Year | Title | Country | Length | Director | Writer |
---|---|---|---|---|---|
1968 | Bors (episode: “Vesztegzár a határon”) | Hungary | Feature | Yes | |
1974 | Ösbemutató | Hungary | Feature | Yes | Yes |
1982 | Levél apámhoz (Letter to my Father) | Hungary | Feature | Yes | Yes |
1983 | Cats' Play | West Germany, Canada | Feature | Yes | |
1984 | Bali | West Germany, Austria | Feature | Yes | |
1984 | Isten teremtményei | Feature | Yes | Yes | |
1996 | Offenbachs Geheimnis (includes complete performances of Les deux aveugles and Croquefer, ou Le dernier des paladins) | Germany, France, Hungary | Feature | Yes |
Appearances in documentaries
Year | Title | Country |
---|---|---|
1982 | Történetek a magyar filmröl | Hungary |
1998 | TV a város szélén (episode 1.1) | Hungary |
2002 | Simó Sándor | Hungary |
2004 | Gero von Boehm begegnet... | Germany |
2005 | Into the Night with... | Germany, France |
2006 | The Outsider | Canada |
2007 | The Fallen Vampire | France, Romania, Austria, Germany, Netherlands |
2007 | Close-up (episode: “Bela Lugosi: Dracula's Dubbelganger”) | Netherlands, Germany, Belgium |
2008 | Szakácskirály | Hungary |
2010 | Sodankylä ikuisesti | Finland |
See also
References
- ^ "Istvan Szabo Biography," <http://www.filmreference.com/film/58/Istvan-Szabo.html>, Film Reference. Retrieved 6 May 2012.
- ^ a b David Paul, “An Excerpt from 'István Szabó,'” David W. Paul, 6 May 2012 <http://home.comcast.net/~dwp1944/Szabo.htm>.
- ^ a b c "KinoKultura". www.kinokultura.com. Retrieved 2022-10-14.
- ^ Gervai András: Egy ügynök azonosítása, Élet és Irodalom, 2006. January 27.
- ISSN 0028-7504. Retrieved 2022-10-14.
- ISBN 978-1-55365-637-1.
- ^ Papamichael, Stella (October 28, 2014). "Getting Direct With Directors... No.25: István Szabó". BBC. Retrieved August 27, 2017.
- ^ a b c d András Gervai, “A Screen Moralist,” The Hungarian Quarterly 43, Winter 2002.
- ^ Kristin Thompson and David Bordwell, Film History: An Introduction (New York: McGraw-Hill, 2003), 460-469.
- ^ David Paul, “Istvan Szabo,” Five Filmmakers, ed. Daniel J. Goulding (Bloomington: Indiana University Press, 1994) 162-164.
- ^ a b c "István Szabó". IMDb. Retrieved 2022-10-14.
- ^ Paul, “Istvan Szabo” 164-166.
- ^ "5th Moscow International Film Festival (1967)". MIFF. Archived from the original on 2013-01-16. Retrieved 2012-12-15.
- ^ Thompson and Bordwell 624.
- ^ “A Brüsszeli 12,” Sulinet, <http://www.sulinet.hu/tovabbtan/felveteli/2001/23het/kommunikacio/komm23.html>. Retrieved 6 May 2012.
- ^ Paul, “Istvan Szabo” 175.
- ^ Paul, “Istvan Szabo” 177–179.
- ^ Joshua Hirsch, Afterimage: Film, Trauma, and the Holocaust (Philadelphia: Temple University Press, 2004) 116–117.
- ^ Paul, “Istvan Szabo” 180–183.
- ^ "The 53rd Academy Awards (1981) Nominees and Winners". oscars.org. Retrieved 2013-06-08.
- ^ a b Hirsch 117.
- ^ Paul, “Istvan Szabo” 183-187.
- ^ Paul, “Istvan Szabo” 189-194.
- ^ Paul, “István Szabó” 194-197.
- ^ “Sweet Emma, Dear Böbe,” Karlovy Vary International Film Festival <http://www.kviff.com/en/films/film-archive-detail/20092680-sweet-emma-dear-bobe/ Archived 2012-10-01 at the Wayback Machine>. Retrieved 6 May 2012.
- ISSN 0028-7504. Retrieved 2022-10-14.
- ^ Sunshine - IMDb, retrieved 2022-10-14
- ^ Sunshine, retrieved 2022-10-14
- ^ Roger Ebert, “Sunshine,” Rogerebert.com, 23 June 2000, <http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20000623/REVIEWS/6230305/1023 Archived 2012-10-14 at the Wayback Machine>. Retrieved 6 May 2012.
- ISSN 0362-4331. Retrieved 2022-10-14.
- ^ Being Julia - IMDb, retrieved 2022-10-14
- ^ "27th Moscow International Film Festival (2005)". MIFF. Archived from the original on 2013-04-03. Retrieved 2013-04-13.
- ^ Eddie Cockrell, “Relatives,” Variety, 5 Feb. 2006, <http://www.variety.com/review/VE1117929481/>. Retrieved 6 May 2012.
- ^ "28th Moscow International Film Festival (2006)". MIFF. Archived from the original on 2013-04-21. Retrieved 2013-04-21.
- ^ T. H. R. Staff (2012-02-10). "The Door: Berlin Film Review". The Hollywood Reporter. Retrieved 2022-10-14.
- ^ "Georgian fest kicks off with Istvan Szabo's The Door". Archived from the original on 2013-06-29.
- ^ “A Vizsga nyerte a Los Angeles-i Magyar Filmfesztivált,” Filmhu, 26 Nov. 2012, <http://magyar.film.hu/filmhu/hir/a-vizsga-nyerte-a-los-angeles-i-magyar-filmfesztivalt-hir-vizsga-az-ajto.html>. Retrieved 1 Dec. 2012.
- ^ Paul, “An Excerpt from 'István Szabó.'”
- ^ "Kinoeye| Hungarian film: Istvan Szabo interviewed". www.kinoeye.org. Retrieved 2022-10-14.
- ^ a b István Szabó, “Essential Close-Ups,” Being Julia Press Kit, <http://www.sonyclassics.com/beingjulia/presskit.pdf>. Retrieved 6 May 2012.
- ^ Paul, “Istvan Szabo” 159.
- ^ Karen Jaehne, “Istvan Szabo: Dreams of Memories,” Film Quarterly 32.1 (1978): 38.
- ^ "Danubius Magazin". Danubius Magazin (in Hungarian). Retrieved 2022-10-14.
- ^ "István Szabó". IMDb. Retrieved 2022-10-14.
- ^ "6th Moscow International Film Festival (1969)". MIFF. Archived from the original on 2013-01-16. Retrieved 2012-12-17.
- ^ "Story". European Film Academy. Retrieved 2022-10-14.
- ^ “Széchenyi Academy of Letters and Arts,” Hungarian Academy of Sciences, <"Széchenyi Academy of Letters and Arts". Archived from the original on 2015-04-24. Retrieved 2015-04-24.>. Retrieved 6 May 2012.