<div dir="ltr"><p class="">Még nem láttam a filmet, de alább egy figyelemre méltó angol nyelvű kritika a 'Saul fiá'-ról:<br></p><p class="">A startling Hungarian film shows how humanity can endure in the face of monstrous evil</p><p class=""><a href="http://www.catholicherald.co.uk/commentandblogs/2016/04/28/seeing-the-horror-of-auschwitz-in-a-single-face/">http://www.catholicherald.co.uk/commentandblogs/2016/04/28/seeing-the-horror-of-auschwitz-in-a-single-face/</a><br></p>
<p>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”. <strong>Son of Saul</strong> (<span style="color:rgb(0,255,255)">★★★★★</span>,
cert 15, 107 mins), an award-laden Hungarian drama from debutant
director László 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.</p>
<p>The film begins with a long shot of Saul (Géza Röhrig), 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.</p>
<p>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.</p>
<p>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.</p>
<p>Röhrig 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.</p></div><div id="DDB4FAA8-2DD7-40BB-A1B8-4E2AA1F9FDF2"><br> <table style="border-top:1px solid #aaabb6">
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