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Satantango (1994) [Out of Print] [Re-UP]

Posted By: Someonelse
Satantango (1994) [Out of Print] [Re-UP]

Sátántangó (1994)
2xDVD9 + 2xDVD5 | ISO | NTSC 4:3 | 420 Mins | Total: 21,23 Gb
Audio: Hungarian AC3 2.0 @ 192 Kbps | Subs: English | Black & White
Genre: Drama, Mystery, Art-house

Director: Béla Tarr
Stars: Mihály Vig, Putyi Horváth, László feLugossy

Hungarian auteur Bela Tarr's seven-hour, black-and-white epic based on the novel by Laszlo Karsznahorkai took two years to film. The complex story follows a group of people living in a dilapidated village in post-communist Hungary. Tarr examines their standstill lives through a series of episodes told from each person's point-of-view. Susan Sontag wrote, "Devastating, enthralling for every minute of its seven hours. I'd be glad to see it every year for the rest of my life." Winner of the Caligari Film Prize and the Ecumenical Jury Prize Special Mention at the 1994 Berlin International Film Festival.


I know what you’re thinking. Seven and a quarter hours of miserable people trudging through drab, bleak Hungarian countryside in pouring rain - black and white, subtitled, slow, East European minimalist, arthouse cinema featuring long scenes where little is said and nothing much happens - Sátántangó isn’t exactly going to be a bundle of laughs. Well, you’ve got that right. The middle part of a trilogy of films co-written with the author László Krasznahorkai starting in 1987 with Damnation and ending in 2000 with Werckmeister Harmonies, the intimidating reputation of Béla Tarr’s four years in the making magnum opus Sátántangó from 1994 is only matched by its long anticipated release on DVD. It more than lives up to every expectation.

Satantango (1994) [Out of Print] [Re-UP]

Despite its formidable reputation, Sátántangó is not as difficult and unapproachable as it might appear. Much in the same way that the plot of Damnation, such as it was, adhered to many of the styles and characteristics of a film noir, Sátántangó is actually something of a thriller, albeit one that is highly stylised, unusually structured and certainly at variance with the conventional pacing of the genre. A group of people are holed-up in a small farming community and it appears that they have been there for a long time, with a lot of money between them, all dreaming of a better life they are going to have when they get away. Kráner (János Derzsi) and Schmidt (László Lugossy) are planning to split the money between them and leave, but Futaki (Miklós B. Székely) – who, like everyone else, has been sleeping with Schmidt’s wife (Éva Almássy Albert) - overhears their plans and demands to be counted in. As they are arguing over how to divide the money between them, the news arrives that Irimiás and Petrina (Mihály Vig and Putyi Horváth) – long believed dead – have been seen causing a disturbance in a nearby inn and are heading their way.

Satantango (1994) [Out of Print] [Re-UP]

With scenes taking place in practically real-time, long, slow and endlessly drawn out, the characters mired in dark, muddy and desolate locations, Tarr’s film says much about his view of the human condition, but it is one that is specifically linked with Hungary’s status as a former Soviet Bloc country. The opening scene – a single ten minute tracking shot following a herd of bulls though the buildings that make up the farm yard where the characters reside – sets the scene for a population lost and without direction, wandering aimlessly with no purpose other than existing. It’s a modern-day Sodom and Gomorrah, the inhabitants sleeping with each other’s wives, raucously drinking and dancing, squabbling over what money they have been able to store up under the old regime and waiting for the opportunity to make their getaway. And the old regime is crumbling. The comings and goings of the people on the farm are being documented by the Doctor (Peter Berling), who keeps them under constant surveillance – but he’s grown fat and is too fond of his fruit brandy. When Mrs Kráner warns him that she will no longer make deliveries for him, he finds that he cannot fend for himself without the support of the people and their complicity in keeping the old ways going. Similarly, Irimiás and Petrina are hauled up before the military authorities who are outraged at their inactivity and vagrancy, for failing to heed the rule of order. Human life is meaningful, rich beautiful and filthy. It links everything. It mistreats freedom only …wasting it as if it were junk.”

Satantango (1994) [Out of Print] [Re-UP]

The same themes that are evident in the other parts of the trilogy, Damnation and Werckmeister Harmonies, are even more evident here - people struggling to exist in impoverished circumstances, their lives without direction, order or meaning. Here however, the characters have money, resources and abilities, but no will or imagination to do anything with them. Used to being treated like the cattle seen in the first scene of the film, they have allowed themselves to be misused, mistreated and spied upon, but finding relative safety and comfort by merging anonymously into the herd. When that authority disappears, they find then that they have no volition of their own, and no-one to stop them from over-indulging in the few little pleasures that were available to them – drinking, dancing and fornication. A spectre from the past however, in the form of Irimiás and Petrina, has risen from the dead and is about to pass judgment on their lives.

Satantango (1994) [Out of Print] [Re-UP]

There is no small amount of pleasure to be gained from trying to figure out all the symbolism and allegory in the story, and a certain degree of anticipation to be drawn from the slow unfolding of events – the initial scenes are replayed over the first four hours of the film from different perspectives, each cumulatively adding to form a complete view of the sordid situation – but the real strength of Sátántangó is almost entirely within Tarr’s wonderful mise en scène. The camera lingers over the grim, hard-set, craggy and worn faces of each of the characters, each of the drab, dank rooms they inhabit and the bleakness of the featureless landscape that surrounds them as they trudge and squelch down muddy roads under heavy rain that almost beats them into the ground. The scenes stay static enough for the viewer to savour every little detail – the gentle patter of the rain building up to a heavy downpour, stray dogs wandering in the background, the relentless ticking of passing time, the buzzing of flies crawling along walls and tables. Tarr somehow even seems to have the spiders and flies practically choreographed to appear on cue at the end of long ten minute takes. The long unedited takes and the constant replaying of events serve to show how everything is connected and all of it speaks of the aimlessness of the characters and their grubby little lives and their relationship with the land around them - life in misery in perpetuity. The camera is not static however – it follows the characters, tracks them, closes in on them, encircles them – each of the movements serving to emphasise a situation or condition.

Satantango (1994) [Out of Print] [Re-UP]

There are many ways to interpret what is going on in Sátántangó, but the principal objective of Tarr’s technique is to capture the essence of the characters and their surroundings, drawing the viewer into this world and letting them experience every single moment, in practically real-time sequences, from as many aspects as possible. More than figuring out what is going on, what is more important is for the viewer to open themselves up to the experience of the film and dance with the devil. Sátántangó is truth 24 times a second. At over seven hours however, so much truth may be more than one can bear.

Satantango (1994) [Out of Print] [Re-UP]

If you have seen the earlier Béla Tarr’s Werckmeister Harmonies and Damnation, you will have a fair idea what to expect here in Sátántangó, only more expansively and more in-depth - long, slow, drawn-out single unedited takes of black and white East European bleakness, the characters aimlessly wandering through rain sodden fields, drinking and carousing to fend off the misery of their lives, looking for someone to lead them, direct them and give their lives meaning. It’s over seven hours long and every single gruelling minute of it is astonishing. Tarkovsky and Bergman inevitably come to mind, both in technique and subject matter, but Béla Tarr takes those arthouse sensibilities to punishing extremes. Sátántangó goes further than most and in doing so, Tarr creates for himself a unique place in cinema and achieves a unique dialogue with the viewer, but it’s not an experience that everyone is going to want to put themselves through. It will leave an indelible impression on anyone who watches it, but those brave enough to sit through it all in one go may feel soiled and unable to ever remove the grime it leaves clinging to the skin.
Satantango (1994) [Out of Print] [Re-UP]

I was mesmerized by this 7-hour long 1994 Hungarian film called "Satantango." Filmed entirely in black and white, director Bela Tarr has created some of the most stunning images I've seen on film. The opening shot, about 10 minutes long, is an enormous tracking shot following a herd of cows wandering through an otherwise desolate village. Then there's this 10-minute take of a window at dawn. Everything but the window is dark, then ever so slowly morning light brings the objects in the room into view, a character finally enters, peers out the window, then goes back to bed. There's a 5-minute tracking shot of two characters hurrying down the street in a horrendous wind while a veritable tornado of garbage and litter whirls about them. There's a stark, almost surreal woods strewn with fog. No take is less than a minute long, and there are about a dozen around 10 minutes. The average edited shot in a Hollywood film is less than 10 seconds. It's almost mind-boggling the logistical and practical difficulties of sustaining such long takes. In a great many, Tarr utilizes extensive camera movement. The camera tracks and weaves and gives you a sense of space found in few other films – maybe those of a Welles, Ophuls, or Kubrick. The dance in the middle of the film from which the film takes its title is shown in one 10-minute take. It cuts away to a little girl watching the dance for a few minutes, then cuts back to the dance for another 10-minute take. And nothing about this sequence is boring. The eight actors in the scene carry on heartily. Another inspired shot has the camera revolving around seven sleeping characters while a narrator describes the dreams of each.

Satantango (1994) [Out of Print] [Re-UP]

The story concerns a group of poor villagers who gets conned by a smart talker who was once one of their own into giving up all their money to go live on a non-existent communal farm. The first 4-1/2 hours is made up of 5 "stories" from the perspective of different characters over the course of the same day. Some of the events in each story overlap, so you see them occur again and again, but each time from a different perspective since they occur in the context of a different character's life. It is not unlike what Tarantino does with a segment in "Jackie Brown," but whereas Tarantino's technique is tiresome because it is plot-related, Tarr's is a grand achievement in tone.

Satantango (1994) [Out of Print] [Re-UP]

The first story shows us Futaki, who while having an affair with Mrs. Schmid, finds out that her husband is planning to make off with the money that eight villagers have come into through one of conman Irimias's schemes. Then they both discover Irimias, who was thought to be dead, has returned to their village. The second story follows Irimias and his trying to evade trouble with the law. The third shows us a doctor who observes the other villagers and who writes down everything he experiences in journals that he keeps. The fourth has a young girl taking out her miseries in life on a cat and contemplates suicide. The fifth shows all the pertinent villagers gather together at a bar and drinking and dancing until they are all in a drunken stupor.
IMDB Reviewer
Satantango (1994) [Out of Print] [Re-UP]

Special Features:
The three main discs in the Satantango set have no extras, but a fourth DVD has quite a few. Note right now, though, that the problems seen in the main feature video-wise are also here, and are actually slightly worse.

Of the four featurettes on DVD 4, two are specifically related to Satantango, and both of those are pretty unexciting. The 5-minute "About the Restoration" is an example of specific moments in the movie where the Facets team cleaned up damage to the print, showing the before and after. A 34-minute film from 1995 called Journey on the Plain was made by Bela Tarr, and it shows actor/composer Mihaly Vig (Irmias) revisiting the sets from Satantango, reciting poetry by Sandor Petofi, and playing music from the score. That's it. Just him walking through the sets a year later, now shot in color. It's a total yawn.

The 5-minute short film Prologue is a segment Tarr made for the 2004 anthology movie Visions of Europe. It shows the many faces on a bread line.

Finally, the most interesting extra is a 1982 staging of Macbeth that Bela Tarr shot for Hungarian television. This abbreviated is most notable for being done in two shots: a short intro and then the bulk of the movie, orchestrated to precision by the director.
Satantango (1994) [Out of Print] [Re-UP]
(2867 x 1465)

Satantango (1994) [Out of Print] [Re-UP]
(2867 x 1465)


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