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
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