The Round-up - Analysis of Miklos Janscos Film - Essay Example

Section/# “The Round-Up An Analysis of Miklos Jansco’s Film It is oftentimes intriguing to analyze early film dueto the fact that the filmmakers themselves had something of an unadulterated approach to the way in which representations could be cast, techniques could be utilized, and actors could be leveraged. This does not necessarily take away from the approach the current filmmakers use; however, it must be noted that current filmmakers necessarily draws heavily upon these techniques, strategies, and approaches of their forebears. With this in mind, the following analysis will engage the reader with an understanding and cursory interpretation of Miklos Jansco’s 1965 film entitled, “The Round-Up”. As such, technical elements of representation, unique and groundbreaking philosophical approaches, historical relevance, and many other aspects of Jansco’s approach will be leveraged. it is therefore the hope of this particular author that such a level of analysis will be able to engage the reader with a more full and complete understanding of the manner through which this particular filmmaker provided cinemagoers with a unique view of the world and an interpretive approach that has continued to impress film critics and common viewers alike for decades after its initial release in his native Hungary. Firstly, before delving into any of the mechanics or actual philosophical approaches that Miklos Jansco makes within the film, it would be an astounding oversight to assume that the unit of focus for the film, namely the apparatchiks of the Habsburg Empire and the imprisoned revolutionaries, were not somehow a type of comparison and contrast between the communist government of Hungary and the depression that was always a very real and present aspect of life at the time in which the film itself was made. Although it cannot be definitively stated that the premise and motivation that is reflected throughout the film is somehow allegorical of Hungary’s sociopolitical status and form of government, stark and pervasive levels of contrast exists throughout the film that impress upon the viewer the means of similarity and power of contrast in comparison that exists between the two. Furthermore, due to the fact that the communist government Hungary, and the way, and indeed are after was repressed does not allow for open dissension, utilizing a somewhat allegorical tale of repression under a “capitalist regime” was an effective guise of quiet yet inviting criticism that could not have been represented in a more open manner. Another obvious undertone that is represented throughout the film is with regards to the “witch hunt”. Throughout world history, and indeed especially during the 20th century, “witch hunts” had become an expected part of political dissension and repression. As such, the witch hunt that was illustrated within the film in question help to denote the fact that those in power, regardless of political affiliation, would stop at nothing to ensure the complete and utter annihilation of those that initially stood against them; regardless of whether or not these individuals continue to pose a threat or not. As such, the retribution aspect of the film was especially profound as compared to the political aspects and ramifications that it engendered. Philosophically speaking, a pervasive undertone of postmodernism is represented throughout the film. As such, rather than indicating that a particular character, or group of characters for that matter, can and should be represented as “good” war “bad”, the filmmaker instead represents a litany of different individuals that the viewer is constantly and frenetically attempting to determine whether or not they should hate them for love (Nagorski 56). The end result is a situation through which no single character of the entire film evokes strong feelings of good or evil; rather, a blended understanding that both sides are inherently self interested, cruel, and situationally advantageous comes to light. Such a realistic view of individuals necessarily contrasts sharply against the way in which Western European film and North American film, of the same era and before, sought to idealize certain aspects of life and promote goodness and virtue within a singular character. Additionally, whereas the postmodern interpretation that is thus far been described may encourage the reviewer/viewer to understand the fact that no moral absolutes were represented within the film, the fact of the matter was that there was one pervasive moral absolute. This was of course with regards to the fact that collaboration was seen as an unforgivable sin; from which there was no return. This was illustrated both with respect to the way in which the lead character sought to curry favor with his captors and escape execution by pointing out those members of the opposition that had evaded “justice” for such a long period of time. Further element of this “unforgivable sin” is with regards to the fact that it is ultimately not appreciated (Venkiteswaran 67). The end, the captors do not delay executions and treat informants and non-informants in an identical manner. Technically and mechanically speaking, the terse dialogues, emotionless levels of killing and approaches to torture represent humanity at its worst. Once again, this technical approach was one that was not fully leveraged by other filmmakers in eras past. Furthermore, rather than elevating a higher morality that was able to rescue these individuals from the horrors that they face, a very animal-like will to survive and desire for self-preservation contrasted starkly against the arrogance and cruelty that was displayed by the apparatchiks of the Habsburg Empire (Franklin 25). Furthermore, the absolute absence of interleukin characters created a situation through which the representatives of the Habsburg Empire and the representatives of the former gang members that railed against one another with the only characters displayed within the film. Although this particular approach might seem as overly simplistic and ineffective, when the film screen, it becomes patently obvious that this particular approach does not take away from the overall message; rather, it helps to compound and reinforce it to such degree that aspects of interpersonal interaction that would otherwise be missed can be focused upon to a new and increased degree as a result of this dichotomy. From the analysis that is thus far been conducted, it can definitively be stated that the film was groundbreaking and effective in kick-starting a global level of recognition for the filmmaker. Moreover, the unique style, historical level of allegory, philosophical approach, and technical proficiency through which the details and plot were related. Ultimately many aspects have helped this particular film to remain as a harbinger of a new era in filmmaking. Whereas it is true that the career of Miklos Jansco did not continue to expand and evolve to the degree or extent that the reviewers anticipated, this is partly due to the fact that his style and approach was far ahead of its time and did not readily lend itself to being leveraged by any of the major filmmaking Enterprises within Europe where the United States. Leveraging the skills that were so profoundly illustrated within “The Round-Up”, Jansco spent much of the remainder of his career attempting to perfect symbolism. Whereas these particular approaches were not on the whole successful, it is easy for the viewer to note why the fascination with symbolism came to be such a central focus of the filmmaker; due in small part to the fact that his previous analyses, as indicated by “The Round-Up” had so effectively represented symbolism that he was encouraged to pursue this end to an even further degree. Ultimately, attempting to trace the level of impact that this particular film has had would require a dissertation length response. However, suffice it to say that even to this day, filmmakers continue to leverage the same approaches, technical elements, and interpretations that Miklos Jansco set forth in this pivotal film. Works Cited Franklin, David. "The Professor As Censor: Creative Limitation And Film Production Pedagogy." Journal Of Film & Video 53.1 (2001): 25. Communication & Mass Media Complete. Web. 3 Jan. 2014. Nagorski, A. "Sleeping Without The Enemy." Newsweek 118.8 (1991): 56. Academic Search Complete. Web. 3 Jan. 2014. Venkiteswaran, C. S. "Reflections On Film Society Movement In Keralam." South Asian Popular Culture 7.1 (2009): 65-71.Academic Search Complete. Web. 3 Jan. 2014. Read More