I have not been able to stop thinking about Kontroll since I saw it. It's been built up in my mind for the four years I've been in STAC, and it was certainly worth the wait. Why is Kontroll such an incredible film? Sure, it won 17 awards, the cast is fantastic, the cinematography is stunning, the subject matter is unique, and the whole thing in general is funny, sad, and dark all at the same time. But it must be the combination of every amazing element that makes Kontroll one of those movies that just won't leave you alone. I've done a bit of research and read plenty of interviews with Nimrod Antal since I saw the film, and it's interesting how the more I find out, the more questions I have.
I can't even settle on whether or not I think Bulcsú is the killer. On one hand, I think it would make complete sense that the killer is a dark part of Bulcsú deep in his subconscious that hates his job so much that he ends up killing innocent passengers who never give him the respect he deserves. On the other hand, I think that conclusion might be too obvious, too predictable, too generic, and I don't think Nimrod Antal is the kind of director who would go for the obvious choice. In fact, he most probably wants us to tear our minds apart over whether or not Bulcsú is the pusher, only to never give us a definite answer. In one interview, Antal said he doesn't necessarily consider himself an artist, but for all intents and purposes, I'll consider him one. Like most artists, perhaps he wants us to wonder if there is a little bit of evil in ourselves. Roland Barthes once said, "Literature is the question minus the answer." Perhaps film is too.
This movie also has a killer soundtrack. Music can make or break a movie. For example, Watchmen was a mediocre movie, made even worse by a terrible soundtrack, full of songs that were neither good individually nor as a whole. The movie could have been made better if the soundtrack included music appropriate to the time it was set in, and especially music appropriate to the moods of individual scenes (No one should ever use "Hallelujah" for a sex scene). But I digress. The distinct sound of the band "Neo" perfectly suited chase scenes, murder scenes, comical scenes, and love scenes with their ominous, ambiguous, and one-of-a-kind style.
Now that I've seen Kontroll, all I want to do is watch Kontroll and talk about Kontroll. Basically, I want to live, breath, sleep, and eat Kontroll. I can't wait to watch it again and unravel more of the mystery. I dread the day any American tries to do a remake of it!
ROLAND BARTHES???? Where are you reading Roland Barthes? How EXCELLENT!
ReplyDeleteThis is a wonderful post. I love the Roland Barthes quote.
I don't think Bulscu is the killer either. I like him too much, I want too much for him to escape with Szofi.
What is fun about art, and a movie like Kontroll, is that Bulscu can be the killer and NOT be the killer at the same time. I have no problem wrapping my mind around that - it is a movie. It is art. It is like life, in that we can be many things all at once, and the movie is symbolizing that. I think it is very hard for high school kids (and I do not refer to you, here) to be ok with things vague, ambiguous and otherwise up in the air. I think it is hard for a lot of adults to be ok with things up in the air. Kontroll is hard to talk about, but it is only hard to understand if it is limited to a single plane of thought, a single vector - realism, myth. There are parts that are realistic and only make sense as realism - like when Szofi and Bulscu have coffee. This isn't mythic. It's coffee - realism - utterly realistic action - two people fall in love. But when Bulscu is beaten by Gonzo's crew, or when he wakes up in that dance, which is a thinly veiled religious orgy (represented by the couple screwing in the back room), this is completely mythic. These things - realism and myth - they coexist in the film, not canceling but complementing each other. And they coexist in real life if one can see, perhaps in hindsight, that, "Wow, that moment, that cup of coffee - that was my call - I was called there." Myth is there for us to use as an active element as we figure out life.
You know, I read what you wrote, and I think... I think your time with me is done now and it is time for you to go to where you have to go next. It is like Kontroll. At the end of this year, you go up that escalator into the light... and wind up in a new dark place, and the whole thing begins again.
Luke