A Londoni férfi (The Man from London) -- Bela Tarr (2007)

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  A Londoni férfi (The Man from London) -- Bela Tarr (2007)
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  1124 MB
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• Added:
  09/19/2008
• Last check:
  2009-06-08 14:51:53
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  <pre>Béla Tarr -- A Londoni férfi (2007) AKA The Man from London Novel: Georges Simenon Screenplay: Béla Tarr, László Krasznahorkai Music: Mihály Vig Camera: Fred Kelemen Cast: Miroslav Krobot ... Maloin Tilda Swinton ... Camélia �gi Szirtes ... Mrs. Brown János Derzsi ... Brown Erika Bók ... Henriette Gyula Pauer ... Tapster István Lénárt ... Morrison Kati Lázár ... Bucher&#039;s Wife Spoken language: Hungarian Texted language: English (hards subs) Download from: IMDB: http://www.imdb.com/title/tt0415127/ ....................................................................................... STORY: One night Maloin, a switchman at a seaside railway station situated by a ferry harbour, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his control room on top of a high iron traverse from where he can see the whole bay. Suddenly he notices that the first of the disembarking passengers, a tall thin figure (a certain Brown as it will turn out later) leaves the harbour, but not on the usual route: after getting through customs, he goes around the dock and then withdraws into a dark corner, waiting. Opposite him, in front of the ship, another man soon appears and throws a suitcase towards the man on the shore. He goes and picks it up, then waits in an even darker corner for the other man to join him. When he arrives, however, they begin to quarrel and finally, in the course of the vehement fight, due to a hit that turns out to be fatal, the shorter one falls in the water and sinks, clutching the suitcase in his hand. Maloin is watching the scene, astonished. Finally, in a state of fear and shock, he opens the door of his control room, but the sharp and loud creaking sound disturbs and frightens away the murderer. Brown is forced to flee before being able to fish out the suitcase from the water. After the murderer disappears down one of the streets behind the harbour, Maloin cautiously climbs down from his cabin to the shore. When he realises that there is nothing he can do for the victim, he dredges up the suitcase. He takes it up to his control room and opens it: it is packed with money. He is dazzled. He does not go either to call the police or fetch the murderer; he just stares at the pile of money. He simply cannot believe his eyes. Then, after meticulously drying and counting the banknotes, he hides the suitcase in his closet and locks it. At dawn, when his colleague arrives, he acts as if nothing had happened. He returns home on his usual route. Nevertheless, this path is not the same anymore; Written by Juliusz Kossakowski (IMDB) ......................................................................................... REVIEW: (Derek Elley, Variety.com) Unlikely to bridge the gap between those who reckon Magyar director Bela Tarr is either a visionary genius or a crashing bore, "The Man From London" checks in as good but not great Tarr, more on the level of his first mature work, "Damnation" (1987), than one to sit at the Olympian table of "Satan&#039;s Tango" and "Werckmeister Harmonies." Moody, claustrophobic drama about a blue-collar stiff who stumbles on a stash of money, pic seems a hostage to its plot rather than a true Tarr reverie on human desire and greed, with less of his spiritual underpinnings. Fests will bite, nonetheless. Film is freely adapted from a little-known novel by Belgian writer Georges Simenon, creator of Maigret, that was filmed in 1943 by director Henri Decoin, with Fernand Ledoux in the main role. Tarr and his regular co-writer, Hungarian novelist Laszlo Krasznahorkai, remain true to the basic essentials, dispensing chunks of plot in a handful of long speeches. But from the very first shot -- a long, slow pan up the prow of a ship, accompanied by Mihaly Vig&#039;s lugubrious drone score -- there&#039;s no doubting the pic&#039;s authorship. Almost the whole movie is from the p.o.v. of a gruff, middle-aged railroad employee whom we later learn is called Maloin (Czech actor Miroslav Krobot), who works the signal box of a boat-train connection in a small French port. As pic begins, a boat from London is just discharging its passengers at night on to the waiting train, and from his eyrie above the harbour Maloin sees a small case thrown from the boat to a man waiting on the other side of the harbor. Soon, the man who retrieves the case is in a struggle with another, and the former drowns in the harbor, taking the case with him. Characters are seen only in long shot, from Maloin&#039;s vantage point, as they enter and exit pools of light thrown on the stone quay by wall lamps. Who they are and what&#039;s going on is a mystery. Maloin retrieves the case from the sea and finds a stash of English banknotes inside, which he painstakingly dries on his signalbox&#039;s stove. The look of the banknotes establishes pic in the present, but there&#039;s a typically Tarr-like timelessness to the whole movie -- from the weathered, Central European faces of the thesps, through the &#039;40s-noir B&W lensing by d.p. Fred Kelemen (also a helmer in his own right), to the rundown, southern-looking town in which it&#039;s set. (Shooting was actually in Corsica.) With all thesps either speaking (or dubbed into) Hungarian, the sense of any precise physical location seems deliberately discombobulated. Back home, Maloin lives a dreary life with his wife (Tilda Swinton) and daughter, Henriette (Erika Bok), whom he drags from her job swabbing floors in a small fooderie. When an English cop, Insp. Morrison (Istvan Lenart), arrives from London, Maloin realises he&#039;s stumbled on a £60,000 ($120,000) stash stolen by a certain Brown (Janos Derzi). The man who drowned that night was Brown&#039;s associate, Teddy. Morrison&#039;s long speeches, delivered by Tarr regular Lenart in a curiously halting Hungarian, start to fill in the background after an hour or so. But they also get in the way of what should be the pic&#039;s prime focus -- Maloin&#039;s emotional conflict as he finds a possible escape from his clock-punching, routine life. In "Damnation," Tarr managed to combine the spiritual and criminal to powerful effect; in "London," he falls between the two. Despite the immaculate mise-en-scene -- long takes, prowling camera, moody music, characterful faces -- there&#039;s no progression to a higher level, no late-on transfiguration of the material (as in "Satan" and "Werckmeister") to justify the Brucknerian structure. Swinton (speaking English but dubbed into Hungarian) is well cast but has only a few scenes in which to register; Bok comes across as a fuller character, thanks to a bar-room conversation with her father. Krobot (from "Wrong Side Up") melds well with the remaining Hungarian cast, but remains an enigma. Tarr&#039;s last three features have all had elongated production schedules and "London," spread over 2003-07, is no different in not showing any signs of the difficulties. (Most catastrophic interruption was due to the Feb. &#039;05 suicide of French producer Humbert Balsam, to whom pic is dedicated.) Only tech weakness is Vig&#039;s score, typically based on repeated melodies, which is effective but less transcendental than that for "Satan" and "Werckmeister." ...................................................................................... SPECS File Name .............: The Man From London.avi File Size (in bytes) ..: 1,178,978,304 bytes Runtime (# of frames) .: 2:14:05 (201108 frames) Video Codec ...........: XviD ISO MPEG-4 Frame Size ............: 640x384 [=1.667] FPS ...................: 25.000 Video Bitrate .........: 909 kb/s Bits per Pixel ........: 0.148 bpp B-VOP, N-VOP, QPel, GMC ......: [B-VOP]...[]...[]...[] Audio Codec ...........: 0x2000 (Dolby AC3) AC3 Sample Rate ...........: 48000 Hz Audio bitrate .........: 256 kb/s [2 channel(s)] CBR audio Interleave ............: 96 ms No. of audio streams ..: 1 ...................................................................................... NOTE: This film is also available on PB as a screener http://thepiratebay.org/torrent/4004525/ and is marred by a prominent distributers logo. This is a better copy with no "watermark". *****************************FREAKYFLICKS***************************** FreakyFlicks is a free and open community dedicated to preserving and sharing cinematic art in the digital era. Our goal is to disseminate such works of art to the widest audience possible through the channels provided by P2P technology. The FreakyFlicks collection is limited to those films that have played an exceptional role in the history of cinema and its progression in becoming a great art. Films that are usually described as classic, cult, arthouse and avant-garde. If you have films that fit this description feel free to share them and participate in our community. All you need do is include this tag in your upload and join us at the forum to announce your release. http://freakyflicks.proboards54.com *****************************FREAKYFLICKS***************************** </pre>
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