Video Essay: "Orders of Time and Motion" | Béla Tarr's SÁTÁNTANGÓ
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- Опубліковано 31 січ 2021
- Read the introduction to this video essay on MUBI's Notebook: mubi.io/3afqIPt
Video essay by Kevin B. Lee.
"Orders of Time and Motion - The Shots of Sátántangó" by Kevin B. Lee
A new video essay explores the images on screen in Bela Tarr's epic film.
Kevin B. Lee and Arbelos Films have generously allowed us to premiere Lee's new video essay, made for the release of the restoration of Béla Tarr's Sátántangó (1994). "Orders of Time and Motion - The shots of Sátántangó" is also available on the Arbelos Sátántangó Blu-Ray: mubi.io/36qagdR
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I've seen Satantango three times in NYC theaters. It is the most solitude I have ever gotten and the closest any film will ever make you experience pure reality/time/space unfolding as it actually does when no distractions exist. It is simply truth.
Damn, it's really that good? It's worth the 7 hour run-time?
@@Jackp2003 your life means nothing, but better to spend that 7 hour on Tarr
Was there intermission?
@@Jackp2003 Yes, if you are into a pure unfolding of how time that makes you experience it with no interruptions. Meaning a five minute solid shot of rain coming down a window. This is all amongst a desolate, impoverished landscape-which I love stuff like that.
@@DyslexicGod Yes, twice. 15 minutes each. It's a real special film for a certain eye. People always leave after 2 hours.
Villagers leave, they unhappy, they walk a lot, everyone is unhappy, the end. Best movie ever! The 7 hours didn't feel that long... it filled me with a strange comfort, I was at peace with my loneliness.
Dear Mr Lee. Your video-essay is a precious work and extremely useful for those who deal with the Sátántangó from an expert's view. I will study your film, and if you do not mind, I will use some statements of it in my essay on the film (naturally mentioning the source and your name). My paper on Sátántangó will be a little longer, as I see now, I have to write ca. 150 pages to express my standpoint. Unfortunately, my English is far from perfect, so I can't use academic and philosophic English, this means that I can't translate the text by myself.
Let me tell you a few words about my results. In my opinion, the whole film must be tracked back to Krasznahorkai's and Tarr's pessimistic and dystopian world view and the decad's area when the film and the story-book were prepared and shot. During this decade (1984-1994) happened the transition of the power from the "socialists" to the right-wing liberals and nationalists. The allegorical form derives from social change's uncertainty. (see Lukacs on allegory and symbol).
The writer's and the director's original intention was to say something on the inhuman State-Socialism using a "secret" language. But Tarr Béla did not get the money till 1991, meanwhile, the film was ready in his head. Of course, everybody understood this language included the censors, but this kind of communication was allowed by the Socialist culture-policy. Fortunately or not, the system in the meantime changed, so when the creators got money (in 1991), already there was no reason to fire on the late "totalitarian" political model, it became a dead beast. At the same time, the intentions, political goals of the leading Hungarian forces were not clear. The question was, what kind of Capitalism would be in Hungary, a more developed or a feudalistic one?
One thing was sure in those years, millions of people lost the job, and the political situation was uncertain, especially for the middle-bourgeoisie, intellectuals and the poor. It was the time of the original capital-accumulation in Hungary, and every crime against the people in an economic, social and cultural sense was tolerated. Hungary was on sell. This transitive and liquid social and ideological situation is the base of the film's disposition or mood.
In my paper, I analyze a few decisive shots of the film, including the first one, which has many meanings. One of these meanings, as you stated an economic, we see these animals leave to the vanishing air. But not only the herdsmen are missing from the picture; the drive-dogs are missing as well. (I think most of the foreigners don't know, the people only foddered the animals, the animals did not belong to them. The film doesn't mention who the owner is, who paid the workers. So the money is not the price for the animals. They did not sell them because of poverty, the unknow owner wanted to sell the animals. The money they got is salary and not too much, and it is not enough to invest it and start a new enterprise separately. So this workers - not peasants, lost their job when the animals left!) But another purpose of the 8 minutes preface could surprise anybody; this extremely long overture is an Esopian message to the viewers: "de te fabula narratur".
It is a question who accepts the dystopian world view on a philosophical level, ontologically and what this existentialist conception's (hopelessness) impact is on the film. And we can ask that would the Sátántangó be a more "viewer-friendly" (and less aristocratic) film by a less pessimistic interpretation, what if it would be more permissive and emphatic, and a further question is its lengthiness an absolute necessity or what if, it had been one or two hours shorter (as a few Wagner opera and film-monsters would be better if they were shorter.)
I search for the philosophical roots of the film's world view. No question, I can find these roots in the pessimistic philosophy of the XIX century. Another field, where I try to find the film's values and models is painting and photography.
Of course, I understand your analyzes served another goal as mine.
One last word. The English subtitles do not interpreters what the actors say in Hungarian. The text in Hungarian is more sophisticated, more emotional and ruder. Usually, the sentences are longer and more expressive. Two examples. 1. Where the landlord shouts at the leaving people, he doesn't say "Fuck off!". He shouts "You ungrateful bastards!". The difference is not meaningless, in the Hungarian text the "ungrateful" express that pub's owner gave credits to the people, who are now going to leave. 2. Where Estike meats before the pub the old alcoholic Doctor, she doesn't name it Doctor. She says: "Uncle Doctor!" Uncle express the distinguished honour towards an adult... and so on.
Let me give you my e-mail address. portobello4047@gmail.com Pet Szigeti B.
THank you so much for your insight and analysis. especially regarding the original Hungarian dialogue! This is an excellent look at a brilliant, hypnotic film.
Thank you for your take. I feel like this movie was a level above me.
Thank you for your added context I can say I visited Hungary in 89 at 10 during it's transition period with my Father who had left at 17 in 56 during the Revolution that historically seems very important to them as the first year in the iron curtain as it were. As a Canadian I thought the language sounded much harsher than the actual words also a woman spoke to me at the market when we were buying some fruit and sandwiches and scared me until my Father translated and said she asked if you like the cherrys and said you are very pretty. In 89 I noted they seemed rural even in a suburban area like Erd the houses only had about half acre lots but most had fruit trees gardens chickens no waste of land and Budapest was very clean compared to Toronto and the architecture seemed magical they seemed somewhat content to be traditional selling traditional foods and embroidery etc. I doubt they want to model themselves after the west entirely even if they have become more "capitalistic" we did bring some western music on cassettes people liked and they watch overdubbed Hollywood movies but someone like Tarr would probably not be overdramatized enough for the majority of Americans to appreciate film as art has been disappearing for sometime people need indulge in classics if they have refined taste and culture imo.
Great analysis. I saw the movie in Bratislava few years ago. It was a nice sunny day outside and when I came our of the cinema the day was nearly over. But I never regret the experience. What a gem !
Watching this film in theaters is pretty high up there in my bucket list. Absolutely incredible film!
"Is it progress or regress"? It's both. It's Tango.
which is better, the book or the film?
Brilliant. I watched this at the Aero in its entirety - the first film I'd ever been to that had a dinner break. It shook me to my core in the way that slow cinema often does: in waves, and only after the film is finished. It made me realize (in a way that more fantastical works, like Memoria or Uncle Boonmee couldn't) that slow cinema is meant to capture life as it's felt. Impressionistic, but in time instead of style.
Thanks for this lovely piece. Yeah, Turin Horse ends in darkness too.
Your analysis of the repetitions and the way the Police Captain scene is cut are cogent and valuable. That had completely escaped my attention. (Though I knew the Police Captain scene didn't "feel" like it belonged in a Tarr film the first time I watched it. The familiarity of the cutting was both comforting and disturbing -- like having stray thoughts intrude on a meditation.)
Some of the early points on camera moves are less compelling to me. Tarr's camera tends to be at person height or slightly below and the moves often reflect the shifting attention of that "person." I'm not sure how much intentionality Tarr has beyond that. But, I guess it will always be hard to determine if this stuff is just "Tarr being Tarr" or if he's consciously building the elaborate edifice you describe.
Another trick of his I like is letting the camera roll after the "action" of a shot "ended." (e.g. the coat swinging on the back of a just-closed door). This implies both an existence beyond attention and the limitations of the subjective view.
In the end of course, as other commenters have noted, Tarr's films are about entering a more meditative and less ego-full state. Some silent films, dance, music, and theater do this as well. As does the "slow video" movement in the UK (e.g. "Retreat: Mediation From a Monastery") and all those 1-shot train-ride videos here on YT. In a world where the 2.5 second shot reigns supreme, we are starving for this kind of connection, and keep wondering why so much of the media we consume does not nourish us the way Tarr's films do.
Congratulations, Kevin, on this masterful analysis of this modern classic. I really liked how you explore how meaning is derived from the technical and formal parameters of the film. This is the most impressive and controlled video essay I've yet seen by you. (If ever you see this comment, I was 'momoro' on the IMDb boards back in the day).
I can also wholeheartedly recommend the book - I wasn't able to read it in Hungarian unfortunately but read both English and Polish translations (of which I much prefer English even thou it's only my 2nd language)
last night i was finished it!
Unexpectedly, over time (pun intended) this became one of ma favorite movies. I was lucky enough to see it on the big screen finally - incredible, life changing experience.
where did you see it?
@@timeheist5312 New Horizons FF, Wroclaw Poland, 2 or 3 years ago. Remastered print. Totally immersive.
Great movie essay, very insightful! And what an outstanding piece of art the movie is.
A brilliant essay for a brilliant film. Thank you Kevin and MUBI
Beautiful deconstruction of a beautiful film.
Loved the insights. Thanks so much.
Thank you for this beautiful staff !
Beautiful essay. ❤️
Mi película favorita. 🙌🏾🙌🏾
thanks very much you are a pro of cinema
I need to see this movie!
Just watched it yesterday. It's pretty insane.
I am watching now
Having just seen Sátántangó the other day, this was a really interesting watch.
Hello, I just have a question, is there somewhere a list of literature that has been used in this essay? Or is it generally not shown in this kind of video essays?
Andrei Tarkovsky & Bela Tarr....Brothers of Cinema....
Critic Jonathan Rosenbaum has observed this relation as well, but notes the important distinction that while Tarkovsky's art is suffused with spiritual or metaphysical import, Tarr's cinema is brutally, fundamentally materialist and pessimistic. Tarkovsky intimates a possibility of transcendence, while with Tarr there is none.
Interesting insight. I've watched this film a couple of times now (I own the film on DVD) but would love to see it projected. It has a desolate beauty about it.
You should buy a projector
@@gilbertpillbrow6978 Yeah. I actually have one but I only use it for occasional video gaming. Its quite an old one.
All films are ideally experienced projected onto screens.
dear god this was the most precious shots iv ever seen in cinema history! i have to watch this with my own heart and eyes.
Being and time :)
Sublime
This vídeo is useful. Congrats for This content.
This movie is fire
8:30
Is it posible that he wanted to show how events are morfed based on the perspective?
Edit:damn it, he just said the same thing but better
Can we get this one on MUBI please?
Based as fuck
❤❤❤❤❤
bring back this movie to MUBI
😎
😶
deep.
هل يوجد عربب
I don't get scene in police station. Rewriting a letter. Irimias is member of some kind of secret police ? Liked slow tempo, music, scenery but there Kafka is too much for me. First four hours i enjoyed, but then it was just...boring?
atherion
i am convinced that if michael bay ever saw this film.... his head will literally explode.