Mađarski filmski ekscentrik/nadrealist/apsurdist Pater Sparow (Zoltán Verebes) ekranizirat će Vianov čudesni roman Srcoder. Njegov prethodni film 1, adaptacija je pak Lemova eseja "Jedna ljudska minuta".
www.endandend.com/
'Enigmatic in form, encyclopedic in scope, and leaving room between its lines for many different readings, Sparrow's truly singular film encapsulates the whole of human experience in eccentric, elliptical cross-section. It is all at once science fiction, political allegory, transcendental mystery and free-form documentary, recalling the early works of Peter Greenaway in its vast referential breadth, its mannered blurring of fact and fiction, and the beauty of its tableau-like images.' - Sight & Sound, Anton Bitel
Lem's One Human Minute (...) is a review of a book of statistical tables, a compilation that includes everything that happens to human life on the planet within any given 60 second period. One of Lem's most diverting and thought-provoking abilities is his gift for taking mundane realities, paradoxes and horrors and flying with them to heights of imaginative, logical absurdity. There are occasional flashes of such wit in this piece (...) - Lynn Harnett, Portsmouth Herald
Voiceover: “This book is no joke. We could be outraged by it and see it as slander that insults the whole of mankind. However, we might seek comfort from the fact that no one could make it into a film.” And so begins 1, a stunningly brilliant satire of damn near everything that makes us human, and a mind-wrenching examination of the nature of reality in a perceptual world.It’s wicked.
First, some background. This very clever movie is based on an essay by the late, great Polish SF writer, Stanislaw Lem. Part of his prodigious output included dabbles in the rare genre of fictional books, and this is taken from a collection called One Human Minute, which contains three reviews, with the title piece a review of an imaginary book of statistical tables, a numeric compilation of everything that happens to human life on Earth within any given 60 second period. That imaginary book is the centerpiece of 1. Unfortunately, I haven’t read the Lem “review” of One Human Minute, so I can’t tell where and how director-writer Pater Sparrow and main writer Judit Góczán deviate from Lem’s original vision. But it probably doesn’t matter. Lem’s concept of the magic book is the basis for this story, and 1 is the couldn’t-be-made film of the book. Or rather, what the book does when it’s finally “published”. But it’s not just the story that makes this dense and mysterious film as compelling as it is. Its variety is truly amazing. For starters, 1 is filmed as a number of genres: mystery, drama, documentary and reality. It varies among explicit montages, straight-out dramatic scenes, fantasy dream segments and newscasts. The direction is superb, sweeping us through a labyrinth of philosophies, ideas, and beliefs – all of which are skewered and roasted in Sparrow’s laconic take on mankind’s muddled relationship with reality. As with everything else in this tightly-packed movie, even the cinematography offers a variety of styles, from the formal to hand-held documentary to clips of old and current newsreels. Wanda Kiss, who also edited Transmission, does a wonderful job here, seamlessly weaving together endless montages and fast-paced dramatic scenes. The art direction is also fantastic, especially in the police headquarters, where the hi-tech equipment is offset by crumbling rooms, broken and dirty glass, peeling paint and general disarray. It’s another example of the dualism the movie explores, and is very well done.
The plot. It’s quite convoluted and jam-packed with Lemsian philosophic concerns about communication, reality, art and perception of the truly alien. Basically, a big, white book with the number 1 on its cover and spine magically appears in an elite rare bookshop. The book is an impossibility – it’s nothing but chapters with columns of numbers – but is it perfectly specific and inclusive. The action both reviews the book and shows how its appearance is interpreted by three forces – the authorities, who represent reason and the state, the spiritual man, who represents the transcendent universe and dream states, and the world population, who represent stupid, paranoid, media-led humanity in general. It’s a fantastic story.
But however cleverly plotted 1 is, the main attraction for me is the voice-over and dialogue. 1 is really a talkie flick. Like Dr Nathan in The Atrocity Exhibition, in 1 a character named Dr Anselmi “rationalizes reality” and gives us a running commentary/explanation on the book, the main characters and the overall world situation as the plot progresses. Ironic as this is, the dialogue among the characters is hilariously split between hard science babble and hard philosophy babble, with the spiritual man a walking encyclopedia of vague new age aphorisms and the detective obsessively stuck in the reasonable universe and its thought police. Strewn within this wreckage are fast and funny potshots at a wide variety of subjects, including publishing, intellectualism, politics, science, and, for lack of a better term, religion.
When all the laughs are over, however, 1 is a challenging movie about reality… and the conclusion is deceptively simple: reality is what our minds tell us it is. We live ultimately in a world of the imagination, and The Book – an impossible construct – represents our inability to exist outside the world of perception. For the spiritual man, it’s all a dream and we don’t know we’re asleep. Our only hope is to share our dreams through the imagination. For the top authority it’s all inexplicable, but the point is to name the perpetrators and solve the crime. Problem is, there is no crime, only reaction. No perpetrators, only witnesses. The general population, fed by the media, is angered by this invasion of their privacy, and ultimately burn the book. Their fear is the authors will next quantify their dreams. In 1 we’re challenged with the age-old questions of our individualism and mental state and how to recognize knowledge when the real world is filtered and warped through our unique perceptual psychosystems. We can’t be sure in the existence of others. Or even our own existence. “Everything is a question in itself”, Dr Anselmi intones at the close. “To which everything together is the answer!” And that is probably as close to understanding this movie’s imaginative theme as you’re going to get. Don’t like reality? Change your perception of it.
Needless to say, I love this flick. When I watch it again I’m sure there will be many more little references -- ironic, satiric and philosophic -- that will continue to make this movie a highly amusing trip into a relentless house of mental mirrors. Oh, and don’t forget to watch it with a few pears around. - Rick McGrath
One of the most intriguing science fiction projects of last year was Pater Sparrow's 1 (review). An ambitious, satirical and maddeningly cerebral adaptation of Stanislaw Lem's seminal Polish essay, 1 is up there with the best scifi works about the nature of reality ever made and I hope many of you out there will get a chance to see it for yourselves. For those wanting to know what Sparrow's got up his sleeve for us next we've got some sweet news. We've just received information from a very reliable source that Sparrow will be adapting Boris Vian's "Heartsnatcher" ("L'Arrache-Coeur").
The last novel Vian completed before his death in 1959, "Heartsnatcher" is a dark story which takes place in an unknown, original and wonderful environment on an island where a society lives by its bizarre conventions. Old people are auctioned off like slaves, villagers stone the vicar to produce rain and stallions are crucified for "falling into sin." An absent-minded psychiatrist arrives here, who is set to analyze people and change them."
I haven't read the novel myself, but it sounds like a fantastic and surreal parable in the vein of Jodorowsky or Terry Gilliam and exactly what I would expect to come from Sparrow. - www.quietearth.us/
Reo
Neo:
Hodor aurA nylvánvaló titkai (Pater Sparrow, 2011)
"...in the city they're all knocking, and they're all ghosts!"
Web-serija (odnosno njen "pilot-paket") Hodor aurA nyilvánvaló titkai (Očigledne tajne aurE Hodor) poslednji je eksperiment mađarskog reditelja Patera Sparrowa, koji stvara pod uticajem autora kao što su Luis Buñuel, Federico Fellini, Alexandro Jodorowsky i David Lynch, ali i slikara-nadrealista poput Renéa Magrittea i M. C. Echera. O njegovim radovima britanski akademik i filmski kritičar Anton Bitel kaže sledeće:
Simpatična Hermina Fátyol tumači lik aurE Hodor koja pronalazi grad duhova i o tome obaveštava NN lice (sa telefonske govornice). Useljava se u trošnu kuću koju joj uz povremeni napad histeričnog (i zaraznog) smeha pokazuje muškobanjasta agentica za nekretnine (?) sa lentom na kojoj piše "Policija". Pošto prethodni vlasnici nisu umeli da očuvaju pse, podrumom haraju njihove gladne utvare, pa aurA mora da nabavi meso...
Već nakon dva-tri minuta (a možda i ranije) počinjete da postavljate pitanja, jer ono što se odigrava pred vama postaje sve iracionalnije. Ko je aurA? Kako je dospela tamo? Zašto je uopšte dolazila? Šta znači ono obeležavanje (talogom kafe?) u noćnom klubu? Kakva je to žena koja jede karmin i gnuša se kompasa?
Međutim, odgovora nema. Uglavnom. I ako uspete da ih pronađete, potpuno su irelevantni, jer je sve što se događa oko glavne junakinje (koja je najčešće posmatrač) besprekorno skrojeno za idiosinkratični spoj komedije apsurda i kontemplativne misterije, posoljene sa cirka 6 i 7/16 (rečima: šes' i sedam šesn'estina) zrna horora s debelom opnom. Pokretač i lepak uvrnutih (i inspirativnih) tabloa koji se glatko smenjuju jedan za drugim, jeste logika kiselkastoslatkih košmara koji nastaju rano izjutra (ili ne baš tako rano, oko 8:30) kada vas boli potiljak, pa ne možete da spavate. Oniričnom crno-belom fotografijom (Mátyás Erdély, sarađivao sa Kornélom Mundruczóm na "medicinskom" mjuziklu Johanna) i eterično-disonantnom muzičkom podlogom sa džez prizvukom i uplivima kineskog folka (Csaba Kalotás) stvorena je opojna (nad)linčovska atmosfera, pri čemu se podrazumeva da je Lynch, recimo, u Out Yonder elementu. Milujući glas Odett (iz Odett és a Go Girlz!) obeležava sumanutu uspavanku iz uvodne špice.
Da biste uživali u Sparrowljevom prekopavanju podsvesti potrebno je da budete makar malo sujeverni, pošto je posredi hitan slučaj...
"Enigmatic in form, encyclopedic in scope, and leaving room between its lines for many different readings, Sparrow’s truly singular film encapsulates the whole of human experience in eccentric, elliptical cross-section. It is all at once science fiction, political allegory, transcendental mystery and free-form documentary, recalling the early works of Peter Greenaway in its vast referential breadth, its mannered blurring of fact and fiction, and the beauty of its tableau-like images."U prilog preciznosti navedene "definicije" idu kako kratkometražni filmovi Granica (Limit, 2003), Trik (T?ick, 2004) ili trilogija RECYCLEd /Pro-Reo-Neo (2006), tako i ovo minijaturno avangardno čudo (što zvuči kao pleonazam, ali nije).
Simpatična Hermina Fátyol tumači lik aurE Hodor koja pronalazi grad duhova i o tome obaveštava NN lice (sa telefonske govornice). Useljava se u trošnu kuću koju joj uz povremeni napad histeričnog (i zaraznog) smeha pokazuje muškobanjasta agentica za nekretnine (?) sa lentom na kojoj piše "Policija". Pošto prethodni vlasnici nisu umeli da očuvaju pse, podrumom haraju njihove gladne utvare, pa aurA mora da nabavi meso...
Već nakon dva-tri minuta (a možda i ranije) počinjete da postavljate pitanja, jer ono što se odigrava pred vama postaje sve iracionalnije. Ko je aurA? Kako je dospela tamo? Zašto je uopšte dolazila? Šta znači ono obeležavanje (talogom kafe?) u noćnom klubu? Kakva je to žena koja jede karmin i gnuša se kompasa?
Međutim, odgovora nema. Uglavnom. I ako uspete da ih pronađete, potpuno su irelevantni, jer je sve što se događa oko glavne junakinje (koja je najčešće posmatrač) besprekorno skrojeno za idiosinkratični spoj komedije apsurda i kontemplativne misterije, posoljene sa cirka 6 i 7/16 (rečima: šes' i sedam šesn'estina) zrna horora s debelom opnom. Pokretač i lepak uvrnutih (i inspirativnih) tabloa koji se glatko smenjuju jedan za drugim, jeste logika kiselkastoslatkih košmara koji nastaju rano izjutra (ili ne baš tako rano, oko 8:30) kada vas boli potiljak, pa ne možete da spavate. Oniričnom crno-belom fotografijom (Mátyás Erdély, sarađivao sa Kornélom Mundruczóm na "medicinskom" mjuziklu Johanna) i eterično-disonantnom muzičkom podlogom sa džez prizvukom i uplivima kineskog folka (Csaba Kalotás) stvorena je opojna (nad)linčovska atmosfera, pri čemu se podrazumeva da je Lynch, recimo, u Out Yonder elementu. Milujući glas Odett (iz Odett és a Go Girlz!) obeležava sumanutu uspavanku iz uvodne špice.
Da biste uživali u Sparrowljevom prekopavanju podsvesti potrebno je da budete makar malo sujeverni, pošto je posredi hitan slučaj...
"You gonna leave your Jesus penguin key-ring thing?"
Sve tri epizode mogu se odgledati na youtube-u:
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Starting as a amateur filmmaker, Sparrow made his first two short films (Without With 1998, The Something 1999,) which were nominated both year in competition in the biggest film festival in Hungary. During the years he had experienced working in different fields of professional television and film crews, such as assistant for director Zoltán Kamondi in The Alchemist And The Virgin (1999) or assistant art director for academy award winner Luciana Arigghi in Being Julia (2004).
Since being intertested in the boundaries of conventional filmmaking he applied to the very pragmatic London Film School. While studying in London he had made two short films Sense (2001) Limit (2002) and worked in several film projects as a production designer. He graduated as a MA director and production designer with his diploma film called T?ick (2004) and wrote dissertation in the topic of non-narrative film theories. After living and studying in the United Kingdom, he returned to his hometown, Budapest where he started developing on his first feature film based on a Stanislaw Lem essay, with the help of his former mentor Zoltan Kamondi’s company Honeymood Films. Meanwhile he was making several experimental films and visual projects like RECYCLEd – Pro – Reo – Neo (2006) which also attracted attention to him.
His first feature film 1 (2009) reached a big success for a debut film in Hungary, and also collected awards abroad.
He is primarily interested in unique experimental style of mystic and surreal elements in shifted space and time with visual allegories and codes. He considers himself a fimmaker who approaches filmmaking as a visual communication in the face of storytelling. - wikipedia
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