Werckmeister Harmonies

[Julie McMorran]

Hi Everyone

Re: Werckmeister Harmonies, I’ve finally managed to get a few thoughts down in writing – and a few (paraphrased) quotes by Bela Tarr, along with a few other bits of information.

First, some thoughts about Janos:

Throughout the film we see Janos absorbing layer upon layer of grief at what is happening in the world around him. He is sensitive, kind, intelligent, and perceived by those of us looking on to be more aware of the wider world than the others in his town.

The arrival of the whale brings Janos a sense of wonder at the sight of this magnificent creature from the ocean (remembering that Hungary is landlocked and the era in which this film is set), but no one else is interested. The whale is merely a catalyst to bring the masses together. The ‘Prince’ is of more interest to others – they are enraptured by him. While people stand around, waiting, there’s increasing mayhem as the atmosphere is stoked by external and internal influences.

No wonder, with Janos’ accumulating sense of desperation at the past, present, and what is to come, that the penultimate scene is of him in an asylum.

In the discussion, David said something which I interpreted as being that it’s harder to be aware of the world and to care, and that people who feel things deeply in this way can be inclined to develop mental health problems. I think there had been a sense by some after the film that Janos’ hospitalisation had come out of nowhere, however you can see throughout the film in his increasingly overwhelmed actions and expressions, that this was something bewildering and disturbing to him – and perhaps what happened to him (because he was knowledgeable and cared about the world) was inevitable.

In the asylum scene the uncle is now the stronger person, stepping up to these new changes in Hungary’s chequered sociopolitical history, having lived through them time and again. He is supporting his nephew in the hope that he will adapt to the new present and future in which they find themselves. This includes, of course, their new home situation with the aunt and her policeman by then inhabiting the house.

I think there are many scenes open to much interpretation and I find it a fascinating film from beginning to end. Bela Tarr’s moving images of people’s faces and interactions, the Hungarian streets, houses, his framing of shots through doorways etc., and use of light and dark are all incredible. And I love how he uses music, at other times relying solely on off-screen sound effects.

Re: the opening scenes, we’re perhaps given a taste of what is to come – the cyclical nature of all things? This was mentioned in the discussion after the film. For me, the eclipse scene is one of the (if not the) best opening scenes in film. Tarr describes the film as being universally relevant and relatable to everyone.

Does anyone have any more thoughts? Were you still thinking about the film the next day?

 

Some Bela Tarr quotes which perhaps explain a bit more about his approach to film making:

He says his films portray ‘deep emotion and dignity’.

 ‘I like the continuity of long shots, because you have a special tension. They are much more concentrated than when you have short takes. I like very much to build things, to conceive the scenes, (for example in) how we can turn somebody around, all the movements implied in these shots. It's like a play which can tell us something about life...’

 ‘I don’t care about stories; they mislead people into believing that something has happened. (Whereas) in fact, nothing really happens as we flee from one condition to another (…) . All that remains is time. This is probably the only thing that’s still genuine — time itself; the years, days, hours, minutes and seconds.’

 Other information:

The film scene which was openly influenced by the two men walking scene is ‘Gerry’, directed by Gus Van Sant (as Dominic so rightly said). The two men in that scene are the much younger Casey Affleck and Matt Damon. Among many (many) films, Gus van Sant also directed Good Will Hunting and the story of Harvey Milk: ‘Milk’.

Some of Bela Tarr’s favourite films as listed in Sight and Sound... You can see, perhaps, some of his own influences here:

Au Hasard Balthazar 1966

M 1931

Man With a Movie Camera 1929

Passion of Joan of Arc 1927

Tokyo Story 1953

Frenzy 1972

Berlin Alexanderplatz 1980

The Round-Up 1966

Vivre Sa Vie 1962

And the whale, in case anyone was wondering, is made of metal and plastic – I think you can see this in the final scene (once ‘Pandora’s Box’ has opened).

I’m looking forward to next week’s film ‘Only the River Flows’.

Best wishes

Julie

 

[Joanna Stankiewicz]

Thank you,Julie,very interesting.The movie was great,regards,Joanna 

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On 3 Oct 2024, at 11:18, Julie McMorran <fallin...@live.co.uk> wrote:



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[Julie McMorran]

Hi Joanna

I'm glad you enjoyed it :- )

See you on Monday

Julie

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From: 'Joanna Stankiewicz' via Robert Burns Centre Monday Night Film Club <monday-nigh...@googlegroups.com>
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Subject: Re: Werckmeister Harmonies

 

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[Joanna Stankiewicz]

Yes,I did ,have a nice weekend,see you on Monday 

Sent from my iPhone

On 4 Oct 2024, at 07:28, Julie McMorran <fallin...@live.co.uk> wrote:



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[Robert Burns Centre Film Theatre]

I loved it, and thought afterwards that journey to wherever it finished (a critique of communism and / or capitalism or was it without a point at all?) was terrific, who thought that three minutes of men marching through the streets of a town in the middle of the night could be so compelling.

Like some, I didn't dislike the scene with the screaming child, it was similar to having 'Revolution #9' on The Beatles 'White' album, it works as part of the whole rather than in isolation.

I like this quote from director Peter Strickland which appeared on his twitter feed today (

Peter Strickland

 

@TilehurstPete

)

"Somewhat fitting that Béla Tarr’s retirement from filmmaking coincided with Hungary’s smoking ban." it was in response to Curzon announcing this - "We are delighted to announce that Béla Tarr: A Curzon Collection is now available for preorder. The 8-disc Blu-ray collection includes the Hungarian maestro's complete filmography, along with posters, an extensive booklet and new artwork by Paul West. Preorder your copy today!"