Here cosmos and chaos, action and reaction, hope and despair, love and anger, all bump and grind together in a Satanic tango
Werckmeister Harmonies (2001)
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Reviews Counted: 27
Fresh: 26
Rotten:1
Average Rating: 8.3/10
Theatrical Release:Oct 10, 2001 Limited
Synopsis: In a nameless, frozen, Eastern European village cloaked in fog, Janos (Lars Rudolph) choreographs three grizzly drunks in a pantomime of the earth circling the sun and the moon circling the earth.... In a nameless, frozen, Eastern European village cloaked in fog, Janos (Lars Rudolph) choreographs three grizzly drunks in a pantomime of the earth circling the sun and the moon circling the earth. He freezes his actors and describes a total eclipse of the sun; the world grinds to a halt in momentary fear until the warmth of the sun again blankets the earth. On his errands in the wintry wee hours, he hears his neighbors worry about the severe coal shortage, the disappearance of entire families, and the impending riot. He watches as a truck lumbers into town, pulling an enormous corrugated shed behind it. Inside is a stuffed whale. The most gigantic ever seen. A sign says that a Prince accompanies the whale. Janos goes to visit Uncle Gyorgy (Peter Fitz), a musicologist determined to prove that the order imposed on sound by the Werckmeister Harmonies is false and only sonic chaos and disorder is truth. Weary and hungry, Janos finally makes it home when Aunt Tünde (Hanna Schygulla) arrives, threatening to move back in with Gyorgy if Janos does not convince him to use his influence to help her start her "clean town movement." It's simply exquisite. [More]
Starring: Lars Rudolph, Peter Fitz, Hanna Schygulla
Starring: Lars Rudolph, Peter Fitz, Hanna Schygulla
Director: Bela Tarr
Director: Bela Tarr
Screenwriter: Bela Tarr, László Krasznahorkai
Producer: Franz Goess, Miklós Szita
Composer: Vig Mihaly
Studio: Menemsha
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Reviews for Werckmeister Harmonies
Six years after the 7-1/2-hour Satan's Tango, Magyar maverick Bela Tarr makes a stunning feature return with "Werckmeister Harmonies," another hypnotic meditation on popular demagogy and mental manipulation that's a snap at 145 minutes.
Bela Tarr's style seems to be an attempt to regard his characters with great intensity and respect, to observe them without jostling them, to follow unobtrusively as they move through their worlds, which look so ordinary and are so awesome, like ours.
A chilling, mesmerizing, intense account of ethnic cleansing (in spirit if not in letter) from Hungarian master Bela Tarr.
It's shot in static or very slow-moving long-takes; the monochrome images are deliberately oppressive; the pace would strike the organisers of a state funeral as excessively slow.
Limited appeal, a slow pace, a demanding film; but as interesting a work of art as the best of films
dares to say the apocalypse has a startling, bleak beauty all its own.
It is an arduous task, but the film achieves a transcendent and ethereal beauty that only the few truly great masterpieces attain.
This will be a tough watch for many: an uncompromisingly difficult and severe experience. But I found it unique, mesmeric and sublime.
Tarr's true achievement is to attain the condition of silence, and of bottomless, awesomely inscrutable nightmare.
Perhaps Tarr's greatest gift is his merciless sense of cinematic economy and an ambiguity that springs not from some intellectual conceit but from the sheer honesty of his gaze.
The pacing is slow, but the film is entrancing and earns a permanent place in the viewer's mind.
A more accessible, less successful, if less rambling, work than Tarr’s Satantango.
I haven't seen any other Tarr films ... but Werckmeister Harmonies alone convinces me that he's one of today's great film artists.
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