[Grem] angol kritika a 'Saul fiá'-ról

[Emoke Greschik]

MĂŠg nem lĂĄttam a filmet, de alĂĄbb egy figyelemre mĂŠltĂł angol nyelvĹą kritika
a 'Saul fiĂĄ'-rĂłl:

A startling Hungarian film shows how humanity can endure in the face of
monstrous evil

http://www.catholicherald.co.uk/commentandblogs/2016/04/28/seeing-the-horror-of-auschwitz-in-a-single-face/

In his most recent novel, The Zone of Interest, Martin Amis describes the
Sonderkommando, the Jewish inmates put to work in Nazi death camps, quite
beautifully. These prisoners were forced to herd new arrivals and clear
away lifeless bodies, and in Amis’s words they were “the saddest men in the
history of the world”. *Son of Saul* (★★★★★, cert 15, 107 mins), an
award-laden Hungarian drama from debutant director LĂĄszlĂł Nemes, bears out
this sentiment with devastating precision, while also making an admirable
case for the idea that bravery, rebelliousness and humanity can endure in
the face of monstrous evil.

The film begins with a long shot of Saul (GĂŠza RĂśhrig), a member of the
Sonderkommando, emerging from the woods on the edge of Auschwitz. This
initially blurry, distant figure comes right up close to the camera so that
his gaunt face is framed in close up. It’s a superb opening in which Nemes
establishes both his daring formal aesthetic (the camera remains inches
away from Saul and the other characters for the rest of the running time)
and his overarching theme. From the statistical blur of six million dead,
the film’s focus on one man’s personal tragedy comes to speak powerfully
for all of those lives interrupted.

When Saul is sent with his work unit to clear out the pockets of those
recently killed in the gas chambers, he watches his son, who has just been
brought to the camp, die in front of him. As a mere Sonderkommando, Saul is
in no place to attend to his son’s body or say goodbye. Instead, he keeps
his head down and gets on with his work. But in that instant Saul resolves
to somehow recover his son’s body and give him a proper burial. What
unfolds is a kinetic, exhausting thriller that drags its audience along at
a furious pace.

The Holocaust has, of course, become a perennial subject for film-makers,
but Nemes reimagines its depravity with startling effectiveness by, in the
main, keeping the violence at the edge of the screen. The fact that the
atrocities remain on the periphery, only to be caught sight of fleetingly,
somehow seems to ratchet up the horror, particularly in a deeply unsettling
scene depicting a fire-flecked, night-time massacre.

RĂśhrig is mesmerising as Saul. With breathtaking economy, he simultaneously
presents him as a humiliated shell (most movingly when he is forced to
perform a Yiddish dance for the amusement of the commandants) and as a
steely individual who will stop at nothing to be with his son. We are with
him every step of the way, right up to the final coda in which Nemes allows
Saul a brief sliver of redemption. It’s a touching and perfectly judged
moment. Not a happy ending, just a tiny chink of light in the darkness.

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