Zoltán Fábri’s 1976 film follows military veteran Karoly in wartime Hungary as he asks fellow drinkers in a bar what they would choose: be the slave master or the slave
The seventh seal that gave Ingmar Bergman’s film its title is the one whose opening is said to herald the seven angelic trumpeters and the seven bowls of divine wrath emptied out over the wretched sinners. This 1976 film from Hungarian director Zoltán Fábri, adapted from a novel by Ferenc Sánta, is named after something fractionally less dramatic: the fifth seal, whose opening reveals the martyrs’ prayers, beseeching God’s vengeance. Martyrdom, of a tragicomically compromised kind, is perhaps the film’s subject. It’s an arrestingly spiky political cabaret of cruelty and fear, recognisably from the same era of European cinema that brought us Pasolini’s Salò or Marco Ferreri’s La Grande Bouffe.
The person broodingly obsessed with...
The seventh seal that gave Ingmar Bergman’s film its title is the one whose opening is said to herald the seven angelic trumpeters and the seven bowls of divine wrath emptied out over the wretched sinners. This 1976 film from Hungarian director Zoltán Fábri, adapted from a novel by Ferenc Sánta, is named after something fractionally less dramatic: the fifth seal, whose opening reveals the martyrs’ prayers, beseeching God’s vengeance. Martyrdom, of a tragicomically compromised kind, is perhaps the film’s subject. It’s an arrestingly spiky political cabaret of cruelty and fear, recognisably from the same era of European cinema that brought us Pasolini’s Salò or Marco Ferreri’s La Grande Bouffe.
The person broodingly obsessed with...
- 7/9/2024
- by Peter Bradshaw
- The Guardian - Film News
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