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The Round-Up (1966)

Posted By: Someonelse
Date: 25 Aug 2011 13:22:38
The Round-Up (1966)

The Round-Up / Szegénylegények (1966)
DVD9 | ISO | PAL 16:9 (720x576) | 01:26:48 | 5,96 Gb
Audio: Hungarian AC3 2.0 @ 192 Kbps | Subs: English
Genre: Drama, War | Hungary

A profound influence on filmmakers from Sergio Leone to Béla Tarr, The Round-Up is widely acknowledged as a masterpiece of world cinema.
Set in a detention camp in Hungary 1869, at a time of guerrilla campaigns against the ruling Austrians, Jancsó deliberately avoids conventional heroics to focus on the persecution and dehumanization manifest in a time of conflict. Filmed in Hungary’s desolate and burning landscape, Jancsó uses his formidable technique to create a remarkable and terrifying picture of war and the abuse of power that still speaks to audiences today.

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Compact and complex, straightforward, yet still obtuse, and brimming with claustrophobia amid a sprawling Hungarian landscape, Miklós Jancsó’s The Round-Up (Szegénylegények) is a film full of powerful contradictions. What we see and hear (or read) has less impact in a vacuum than the cumulative nature of witnessing repeated atrocities greater than mere physical death. The Round-Up is pure, one-sided psychological warfare. Nary a scene is wasted or ignored. The enemy is both monolithic and incarnate. Jancsó provides a sketch of narration and subsequently throws the viewer into the fire, without warning or preparation. A bullet for a hopeless runaway seems like the most humane of choices. This is 1860’s Austria-Hungary, but it’s also 1956 Hungary and, perhaps, Abu Ghraib, Guantanamo Bay, and whatever future atrocity insulated men have waiting for us.

The Round-Up (1966)

Across a slideshow of innocently disturbing drawings, The Round-Up opens with an explanatory narration that establishes a place, an era, and a situation. We’re in Pest Buda, in 1869, and the current regime is determined to protect the bourgeoisie by eliminating the last vestige of resistance. These men are criminals to those with authority and freedom fighters to the suppressed. Their reward is a hood and noose. Their leader Sándor is an unseen apparition who hangs over the entire film. The uniformed men of authority have herded up a collection of bandits and outlaws, each seemingly bound to death despite the inviting escape of a cloud-covered infinity just past a bullet’s trajectory. A death sentence can be commuted, so the promise goes, for specific types of information regarding the crimes of your fellow prisoners. But the deck is always stacked. Always.

The Round-Up (1966)

Jancsó seems intent on dishing out a certain amount of wrath in the direction of the would-be informers. They’re portrayed as gullible and ill-equipped to deal with their captors, who, it should be noted, are unmistakably Hungarian. Our initial snitch is instructed to provide someone guilty of more murders than he had committed. His desperation and incompetence are almost mocked while the knowing men of power shoo him away like an insect. We’re never shown the potential glee from the officers pulling the strings, but it’s easy enough to imagine how much demented joy may be derived from giving doomed murderers on the wrong side of the ideological sphere a little hope. Emotion in general is a little-known commodity in the film, as well as the ones that immediately preceded and followed it in Jancsó’s filmography. It seems that whatever feelings the audience scrapes away from the experience are either masterfully steered by the director or a byproduct of the viewer’s own opinions. The film itself is objective to the extent that it shows us a series of events where one party is merely at the losing end of the other and the lab rats that emerge are disposed of with little fuss.

The Round-Up (1966)

This clinical and stoic approach can be highly distressing. There’s an inherent human belief that indiscriminate killing is wrong, and that man will do whatever it takes to survive. But what if “surviving” is merely an extension of the punishment? Those who live are just delaying their death sentence, often at the expense of their own dignity. Should we hold the ones who act in desperation to prolong their lives at the expense of others, ostensibly on the same ideological side, in contempt for their selfish desire to trade a fellow prisoner’s neck for their own? If their failure to realise how hopeless the situation has become is caused by their commiserable ignorance, then how do we place our loyalties? Jancsó’s film has no specific protagonist or antagonist, no lead character to sympathise with or loathe, and the viewer is given minimal information outside of the defeated and stark dichotomy between confined, enclosed rooms of isolation and wide-open spaces of controlled imprisonment.

The Round-Up (1966)

These questions, of course, have no answers. Eighty-seven minutes and no answers. Two thousand and eight years and no answers. The Round-Up is about far more than the futility of war and its aftermath, or whether ethics can trump survival. Those are side-effects of an unspeakable cycle of repetition, the reincarnation of power lust. What I’ve noticed in the three Jancsó films released by Second Run is that they don’t focus on war at all. They’re much more concerned with what happens to the people away from the battle lines, the ones who suffer the secondhand smoke of gunfire. The remarkable quality there is how frustratingly timeless this lack of heroism feels. Draping soon-to-be tortured or executed prisoners in hoods is a cowardly avoidance of seeing what pain looks like, and Jancsó uses this device in nearly the exact same way news outlets did only a few years ago during the flair-up of the Abu Ghraib scandal. The electrocution of genitalia is replaced by the director’s more favoured use of involuntary nudity as a means of humiliation. The end result or feeling differs little, if any.

The Round-Up (1966)

Jancsó’s true inspiration in depicting the often disturbing images and actions of The Round-Up is usually considered to be the 1956 Hungarian Revolution, but the still-timely film manages to feel like it’s about every period of the disgraceful manifestation of corruption. The sad testament to modern times that events surrounding the current foreign policy of the United States are what come to mind instead of the far more disturbing and inflammatory actions of Nazi concentration camps only confirms Jancsó’s foresight. His film still has the power to incite frustration and defeated rejection of war’s imperfect consequences. When an image of a marching band, amid so much bloodshed, fear and deceit, comes across the screen, the absurd reaction would seem to be weeping instead of smiling. Why cry when someone is so obviously enjoying themselves at the feet of those less fortunate? After all, it’s not sadness or anger that ultimately dooms the Sándor bandits, but the joyful verse of song. When we cry we remain locked inside the limitations of hurt and pain, but laughter is the way out, where freedom lies.
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The Round-Up (1966)

Edition Details:
- Newly filmed interview with director Miklós Jancsó (19:02).
- Digital transfer with restored image and sound, approved by the Director.
- Anamorphic 16:9 enhanced for widescreen televisions.
- New and improved English subtitle translation.
- Optimal quality dual layer disc.
The Round-Up (1966)

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