Fateless

'Sorstalansag' (FATELESS) is an inordinately powerful, quiet journey through a year in Nazi Concentration Camps at Auschwitz, Buchenwald, and Zeitz. Adapted by Imre Kertesz from his first novel, the story is semi-autobiographical as Kertesz spent a year of his youth in Auschwitz as a Hungarian Jew. Though Kertesz alters his novel of the life of one Gyorgy Koves, in a manner he carefully explains in one of the featurettes accompanying this DVD, the observational skills and tenor of his literate mind suffuse this surprisingly quiet depiction of life in a death camp.

We first meet Gyorgy Koves as a curly headed handsome 14-year old youth in 1944 bidding farewell to his beloved father as he departs for a labor camp. Wearing the yellow star of David proudly, Gyorgy has little understanding of what it is to be a Jew, a lesson he will learn in the coming year and affect his perception of the world and his place in it. Gyorgy's mother left his father and his father has remarried and requests that Gyorgy stay with his stepmother while he is away 'for a while' in the labor camp. Gyorgy is conflicted as he loves his mother but he does as his father requests. Almost inadvertently Gyorgy and his friends are taken off a bus and separated by the Nazis into trains bound for concentration camps. Gyorgy remains relatively naive about what is happening: his head is shaved, his worldly goods are absconded, and he begins the hellish life of survival in Auschwitz. Where Kertesz writes differently than other authors who have described Holocaust conditions is in his mindset of Gyorgy: Gyorgy strives to retain a sense of equilibrium in this bizarre new life, seeing certain events as probable errors, mistakes, or simply 'the way things are'. He endures starvation, brutal work, pain from an injured and infected knee, boredom, and observing sights of torture of his fellow prisoners. Though he is walking in a stunned world, he is still able to fine the little moments of 'happiness' because of his youthful outlook and creative mind. He gradually grows to understand what being a Jew means, and while he is unable to fathom all he sees in captivity, he learns that if he can't understand life in a concentration camp, how can he understand life outside either. Gyorgy is literally on the carts moving toward the crematorium when the Allies free the camp. He meets an American (Daniel Craig) who suggests he not return to Budapest, but go to America instead where he can pursue a new existence. Yet Gyorgy's devotion to family, to country, and to being a Jew returns him to Budapest where he finds a destroyed city that had been home and wanders the town square trying to make sense of it all.

As Gyorgy Koves, Marcell Nagy gives a stunning performance, a picture of a child/man who is forced to enter the world of adulthood via the horrors of Auschwitz. Nagy captures the essence of the character with minimal dialogue and maximum use of his body language and eyes. The supporting cast is superb, each creating vignettes in the few moments we see them that burn into our memory. The cinematography by Gyula Pados uses subdued color for the scenes outside the camps and a subtle sepia toned black and white or the scenes within the walls of the terrifyingly real buildings and yards of the camps. The musical score by Ennio Morricone sustains the mood throughout. But it is the director Lajos Koltai whose impeccable sensitivity to Kertesz' writing and vision that makes this long (140 minutes) film a seamless pondering of the passage of time - minute by minute, hour by hour, day by day, etc - that is the essence of Gyorgy's survival of a nightmare 'with little moments of happiness wherever they may happen'. This is a magnificent film, by a gifted crew, and though it contains visuals that will crush your heart, it must be seen to be believed. In Hungarian and German and English with subtitles. Highly Recommended. Grady Harp

Sorstalanság (Fateless) is the memoir of Imre Kertesz's survival of the Shoah. He won the Nobel Prize for literature in 2002, despite being relatively unknown in the West. At the time, many thought that this was "the Primo Levi prize", i.e. making up for the failure of the academy to award the Nobel to Levi, prior to his death in 1987 (the Nobel is never awarded posthumously).

If one has read Levi's Survival at Auschwitz, or Elie Wiesel's Night, many of the details of the story are familiar. But the craft is in the telling, and the director has done an excellent job of bringing a memoir of brutality and survival to life.

A brief synopsis, without spoilers, is that this is the story of a teenaged boy in Budapest in 1944 who is swept up in the Nazi roundup of Hungarian Jewry, and his experience in the concentration camps. (Elie Wiesel was interred in the same roundup.) The story of how Eichmann tried to ransom Hungarian Jewry to the West is interesting background, for those who are intellectually curious. (The allies were afraid to provide materiel and resources to the Nazis, fearing prolongation of the war. A very sad tale).

Making a film of the Holocaust is always a challenge. A director must strive to make the scenes powerful, without being melodramatic. There is also the danger of making another movie over again (eg, Schindler's List; The Reawakening; Europa, Europa). The challenge is to remain faithful to truth, while bringing artistry to the telling of it.

One device which is used to great effect is the use of very brief scenes, perhaps less than one minute, which tell a brief vignette of the daily life in the camps. Some have very little dialog, and they seem random and unconnected, yet together they add to a deeply moving experience.

Many films of the Holocaust are shattering; a few are hopeful. This is neither, but it is a telling of the story that is watchable for most audiences, yet retains the power to affect a viewer. 8 out of 10.

which word could define the Holocaust ? this film is an answer. for me, one of the most convincing and clear and delicate and honest. the wort experiences as the support for the grow up of a teenager. for self definition. for the build of life. for define the people. for survive. sure, nothing surprising if you do not ignore the science of Istvan Kertesz to give the profound, complete testimony about the experiences of recent past. but the film impress for the art of a 12 years old boy to translate states out of words. the look, the gestures, the steps, the eyes, his eyes, as verdict about a world in need to be itself . and the Central Europe as shadow of past times. I suppose than "Fateless" is the film about Shoah who must see. it is not "Schindler list". and this fact did it useful. because each images represents a word from a precise testimony. about humankind. about the Holocaust. about the price and the fight. to survive.

'Fateless' was a never-seen blockbuster in Hungary if we can use the term for Hungarian movies. It attracted so many viewers that no Hungarian film has done before and as it's not surprising that a Holocaust-film like this divides the audience. Thousands of readers had fallen in love with Imre Kertész's Nobel-prized novel, and expectations in this case are very high. However this film does NOT have to make any disappointment and opposite to some critics' opinion it holds the same meaning the novel holds. Don't forget that Kertész is the screenwriter too, it is his true story, a man's who went through all these and kept the respect of life so could find happiness after and during this. He agreed this film's value. The movie has some great actors, wonderful pictures and lots of very good, atmospheric scenes with very real memorable characters. The score is extremely beautiful how it's natural if the composer is Ennio Morricone.

There are weaknesses too, of course, some dialogues, mainly in the beginning of the film are not natural (maybe it comes from Kertész's newness in film-writing), it' very disturbing as some weak acting in a few episodes. Marcell Nagy is not a bad choice for the leading role, he has the look and the power in his eyes but in speech he's not convincing, it drops you out of the atmosphere sometimes but it won't bother the not-Hungarian audience.

'Fateless' is an impressive European masterpiece, Hungary should be proud of it.

There have been many films about the holocaust but none quite as intimate and personal as Hungarian director Lajos Koltai's Fateless. Based on the semi-autobiographical novel by Nobel Prize winner Imre Kertesz, Fateless is a hauntingly beautiful film whose narrative unfolds in the form of miniature vignettes rather than peak dramatic moments. The film is seen from the perspective of 14-year-old Gyuri Koves (Marcell Nagy), who spent a year in Buchenwald during the last days of World War II and who provides the narration. Unlike most films about the holocaust, it suggests that happiness and beauty can co-exist along with deprivation and despair.

Marcell Nagy is outstanding as Gyuri, the young man who moves from a childlike innocence to world-weariness in the span of one year. With his soulful face and expressive eyes, he is almost a detached observer, quietly pondering his fate. He is, in the Sufi saying, in the world, but not of it and the film unfolds as in a lucid dream that blurs the lines between appearance and reality. Koltai captures this almost matter-of-fact quality as Gyuri says goodbye to his father (Janos Ban) who has been ordered to work in a Nazi labor camp. Because Hungarians did not feel the full brunt of Nazi persecution until the Nazi takeover in 1944, Gyuri thinks his father is just going to have to work hard and that nothing will happen to him. Neighbors and relatives who reassure him that everything will be all right do not further his grasp of reality.

When the boy and his friends are detained on a bus on the way to work, he learns quickly that "his carefree childhood days are now over". Still not comprehending the magnitude of what is taking place, he is annoyed but not frightened and does not seize the opportunity to escape offered by a friendly cop. Even when he arrives at Auschwitz, he sits on the ground shaven and wearing a striped uniform, talking with friends as if he was in a school playground during recess. When Gyuri discovers that "he could be killed at any time, anywhere", he attains a sort of spiritual freedom and his determination to survive is increased. Pretending to be sixteen, Gyuri escapes the gas chamber and is sent to Buchenwald and then to a smaller camp.

The scenes of murder, death, and dying at the camps are thankfully left to the imagination and the film focuses on Gyuri's personal reactions to what he sees around him. Koltai, a cinematographer for twenty-five years, creates a visual cinematic poem in which his color palette is so muted that we experience the mud and the atmosphere of cold and gray almost viscerally. Sadly, we watch Gyuri's transformation from the confident teenager we saw at the beginning to an emaciated number, his leg so swollen and infected that he can barely walk. In voice-over, however, he talks about the hours between work and the evening meal as one of quiet reflection and about the joy in discovering a piece of meat or potato in his soup. He is also sustained by a friend he develops in fellow Hungarian Bandi Citrom (Aron Dimeny) who protects him and tries to teach him the skills of survival. Bandi, ever the optimist, proclaims, "I will walk down Nefelejcs Street again" One of the surprises in the film is the treatment Gyuri receives at what looks like a camp hospital.

He is cleaned, allowed to sleep alone in a bed and taken care of, a set of circumstances not usually associated with extermination camps, yet based on Kertesz' actual experience. The most discussed aspect of the film, however, takes place in Budapest after the liberation. Gyuri feels more alone than he did at Buchenwald and even expresses a sort of homesickness for the camaraderie he felt at the camp. Friends and neighbors who were not in the camps cannot understand what it was truly like and Gyuri cannot explain it. Even if he could, no one really wants to hear anything that rattles their preconceptions.

He rebels at playing the role of the victim and says, "there is nothing too unimaginable to endure". When asked about the atrocities, he talks of his happiness. "The next time I am asked", he says, "I ought to speak about that, the happiness of the concentration camp. If indeed I am asked. And provided I myself don't forget". His "happiness", according to Kertesz, who also wrote the screenplay, is not a form of denial but an act of rebellion against those who do not see him any longer as a human being, only as a victim. It was a way of assuring his responsibility, of defining his own fate rather than having others decide it for him. For me, it also added a portal into the sublime.