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December 1, 2009 (XIX:14) Béla Tarr WERCKMEISTER HARMÓNIÁK/WERCKMEISTER HARMONIES (1990, 145 Min)

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December 1, 2009 (XIX:14) Béla Tarr WERCKMEISTER HARMÓNIÁK/WERCKMEISTER HARMONIES (1990, 145 Min) December 1, 2009 (XIX:14) Béla Tarr WERCKMEISTER HARMÓNIÁK/WERCKMEISTER HARMONIES (1990, 145 min) Directed by Béla Tarr Co-director Ágnes Hranitzky Based on László Krasznahorkai’s novel The Melancholy of Resistance Screenplay by László Krasznahorkai & Béla Tarr Produced by Franz Goëss, Paul Saadoun & Miklós Szita Original Music by Mihály Vig Cinematography by Patrick de Ranter, Miklós Gurbán, Erwin Lanzensberger, Gábor Medvigy, Emil Novák & Rob Tregenza Film Editing by Ágnes Hranitzky Lars Rudolph...János Valuska Peter Fitz...György Eszter Hanna Schygulla...Tünde Eszter János Derzsi...Man In The Broad-Cloth Coat Djoko Rosic...Man In Western Boots (as Djoko Rossich) Tamás Wichmann...Man In The Sailor-Cap Sátántangó/Satan’s Tango (1994), Utolsó hajó (1990), Ferenc Kállai...Director Kárhozat/Damnation (1987), Öszi almanac/Almanac of Fall Mihály Kormos...Factotum (1985), Panelkapcsolat/The Prefab People (1982), Anna/Mother Putyi Horváth...Porter and Daughter (1981), Szabadgyalog/The Outsider (1981), Enikö Börcsök Dübörgö csend (1978), Az utolsó tánctanár (1975), Segesvár Éva Almássy Albert...Aunt Piri (1974). Irén Szajki...Mrs. Harrer Alfréd Járai...Lajos Harrer Lars Rudolph (18 August 1966, Wittmund, Lower Saxony, György Barkó...Mr. Nadabán Germany—) has acted in 61 films and TV programs, among them Lajos Dobák...Mr. Volent De brief voor de koning/The Letter for the King (2008), "Ein Fall András Fekete...Mr. Árgyelán für zwei"/ “A Case for Two” (1 episode, 2008), Warum Männer Sandor Bese...The Prince nicht zuhören und Frauen schlecht einparken/Why Men Don’t Listen and Women Can’t Read Maps (2007), Haus der Béla Tarr (21 July 1955, Pécs, Hungary—) has directed 15 and Wünsche/Paperbird (2007), Fövenyóra/Hourglass (2007), Auf der written 12 films. Some of the films he has directed are A Torinói anderen Seite/The Edge of Heaven (2007), Mein Führer - Die ló/The Turin Horse (2009), A londoni férfi/The Man from London wirklich wahrste Wahrheit über Adolf Hitler/My Fuhrer (2007), (2007), Visions of Europe (2004, segment Prologue"), 33X Around the Sun (2005), Luther (2003), Taxi für eine Leiche Werckmeister harmóniák/Werckmeister Harmonies (2000), (2002), Baby (2002/I), The Antman (2002), Buffalo Soldiers Utazás az alföldön/Journey on the Plain (1995), (2001), Tirana, année zero/Tirana Year Zero (2001), Sátántangó/Satan’s Tango (1994), City Life (1990), Utolsó hajó Werckmeister harmóniák/Werckmeister Harmonies (2000), Die (1990), Kárhozat/Damnation (1987), Öszi almanac/Almanac of Unberührbare/No Place to Go (2000), Die Nichte und der Tod Fall (1985), Panelkapcsolat/The Prefab People (1982), Macbeth (1999), 36 Stunden Angst/36 Hours (1998), Lola rennt/Run Lola (1982/II), Szabadgyalog/The Outsider (1981), Családi Run (1998), Fette Welt/Fat World (1998), Not a Love Song tüzfészek/Family Nest (1979), Hotel Magnezit (1978). (1997), Go for Gold! (1997), Eine Seekrankheit auf festem Lande/Seasick on Solid Ground (1996), Mesmer (1994). Ágnes Hranitzky has edited 13 films, some of which are: A londoni férfi/The Man from London (2007), Töredék (2007), Werckmeister harmóniák/Werckmeister Harmonies (2000), Tarr—WERCKMEISTER HARMONIES—2 Peter Fitz (8 August 1931, Kaiserslautern, Germany—) acted in Mihály Vig has composed the music for 11 films, including Saját 119 films and TV series, some of which are "Donna Leon" (5 halál/Own Death (2008), A londoni férfi/The Man from London episodes, 2002-2008), Meine Mutter, mein Bruder und ich! (2007), Visions of Europe (2004) (segment "Prologue"), (2008), Weisse Lilien/Silent Resident (2007), Die Braut von der Werckmeister harmóniák/Werckmeister Harmonies (2000), Tankstelle (2005), "Kanzleramt" (1 episode, 2005), Hamlet_X Utazás az alföldön/Journey on the Plain (1995), (2003), September (2003), Planet der Kannibalen/Planet of the Sátántangó/Satan’s Tango (1994), Utolsó hajó (1990), Rock térítö Cannibals (2001), "Bronski & Bernstein” (8 episodes, 2001), (1988), Kárhozat/Damnation (1987), Öszi almanac/Almanac of Werckmeister harmóniák/Werckmeister Harmonies (2000), Fall (1985), Eszkimó asszony fázik/Eskimo Woman Feel Cold "Tatort" (4 episodes, 1988-1999), 23/23 - Nichts ist so wie es (1984) scheint (1998), Null Risiko und reich (1997), 14 Tage lebenslänglich (1997), Conversation with the Beast (1996), BÉLA TARR from Facets Cine-Notes. “Bela Tarr: A Cinema Babuschka (1996), "Wolffs Revier" (1 episode, 1996), Flirt of Patience.” 2006. (1995), Das sprechende Grab/Four Junior Detectives II (1994), A Brief Biography Die Denunziantin/The Denunciation (1993), Alles Lüge/All Lies Known for reinvigorating the tradition of contemplative cinema, (1992), All Out/De plein fouet (1991), Dr. M/Club Extinction Bela Tarr belongs to that group of young Hungarian directors who (1990), Die Wannseekonferenz/ Hitler's Final Solution: The came to prominence in the 1990s through their dour, enigmatic, Wannsee Conference (1984), Faust (1982), Die Brüder/The and highly stylized films. Brothers (1977), Ein Fingerhut voll Mut (1960). Tarr was born in Pecs, Hungary in 1955. As a teenager, he worked as an unskilled laborer in a shipyard and as a janitor, but he was also serious about film, and he began directing amateur movies at age 16. His movies eventually attracted the attention of the Bela Belazs Studio for young filmmakers, a government- supported organization that provided professional equipment and funding for budding directors. The studio funded Tarr’s first feature, Family Nest (Csaladi Tuzfeszek). In1977, Tarr entered the Academy of Theatre and Film Art in Budpest. While a student, he directed his second film, The Outsider, which was shot in the semi-documentary style that characterized the “Budapest School.” Like most films from this movement, The Outsider captured the problems and daily lives of ordinary Hungarians in the hopes of improving conditions. Tarr graduated in 1981. His style began to change in 1982 with a version of Hanna Schygulla (25 December 1943, Königshütte, Upper Macbeth that he directed for Hungarian television. With this film. Silesia, Germany [now Chorzów, Górny Slask, Poland]—) has Tarr not only moved away from the realistic style of semi- appeared in 85 films, some of which are Auf der anderen documentary but also from his use of raw close-ups. Instead, he Seite/The Edge of Heaven (2007), Winterreise/Winter Journey exhibited a preference for long shots in long takes, which pushed (2006), Vendredi ou un autre jour/Friday or Another Day (2005), his work closer toward abstraction. Just over an hour, Macbeth Promised Land/ Ha-Aretz Hamuvtachat (2004/II), Absolitude consisted of only two shots. (2001), Werckmeister harmóniák/Werckmeister Harmonies Often compared to Michelangelo Antonioni and Andrei (2000), Milim/Metamorphosis of a Melody (1996), Tarkovsky, Tarr pursued a distanced, detached style in the films Pakten/Waiting for Sunset (1995), Mavi Surgun/The Blue Exile that followed Macbeth. In 1994, he garnered international (1993), Madame Bäurin (1993), Golem, le jardin pétrifié/Golem: attention with Satan’s Tango (Satantango), a seven-and-a-half- The Petrified Garden (1993), Golem, l'esprit de l'exil/Golem, the hour film about a failed collective farm that seemed to capture the Spirit of the Exile (1992), Dead Again (1991), Aventure de malaise and decay of post-Communist Eastern Europe. Catherine C. (1990), Casanova (1987), Miss Arizona (1987), Bela Tarr has been employed by MAFILM Studios, Barnum (1986), The Delta Force (1986), Heller Wahn/Sheer Hungary’s primary film studio, since 1981. Between films, he Madness (1983), Passion/Godard’s Passion (1982), La nuit de serves as a visiting professor at the Film Academy in Berlin, Varennes/That Night in Varennes (1982), Die Fälschung/Circle of Germany, and he has been a member of the European Film Deceit (1981), Lili Marleen (1981), "Berlin Alexanderplatz" (12 Academy since 1996. episodes, 1980), Die Ehe der Maria Braun/The Marriage of Maria Braun (1979), Ansichten eines Clowns/The Clown (1976), Why I Make Films [Bela Tarr, during preproduction for Falsche Bewegung/The Wrong Movement (1975), Die bitteren Damnation, 1987] Tränen der Petra von Kant/The Bitter Tears of Petra von Kant Right at the center of a seemingly incomprehensible world, at the (1972), Warnung vor einer heiligen Nutte/Beware of a Holy age of 32, the question “why do I make films” seems Whore (1971), Mathias Kneissl (1970), Das Kaffeehaus/The unanswerable. I don’t know. Coffeehouse (1970), Götter der Pest/Gods of the Plague (1970), All I know is that I can’t make films if people don’t let Liebe ist kälter als der Tod/Love Is Colder Than Death (1969), me. If I don’t receive trust and funding I feel like I don’t exist. Der Bräutigam, die Komödiantin und der Zuhälter/The The last one-and-a-half to two years of my life went by in such a Bridegroom, the Actress and the Pimp/The Bridegroom, the state of apparent futility—I was given no opportunities to realize Comedienne and the Pimp (1968). my plans through the official channels. Two courses of action were left open to me: to gradually suffocate or serach for some Tarr—WERCKMEISTER HARMONIES—3 alternative. Then followed a terrible year of begging for money “Who is Bela Tarr?” runs the title of an article in an American and trying to discover whether it’s even possible to make a film magazine. To the initiated, he is a Hungarian filmmaker who different type of film in Hungary, one that doesn’t depend on the has built a growing reputation on the festival circuit with a trio of official and traditional sources of funding. And once the money’s uncompromising films— Karhozat (Damnation, 1989), finally all there and I’ve managed to create some small Satantango (Satan’s Tango, 1994) and Werckmeister Harmoniak opportunity, kidding myself that I’m “independent,” that’s when it (Werckmeister Harmonies, 2000), which, particularly with the hits me that there’s no such thing as independence or freedom, latter, seems set to make the first genuine international only money and politics. You can never escape anything.
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