As a modern day film, The Red and the White directed by Miklós Jancsó, would fail, but for its time, produced a new wave of techniques and styles to incorporate. My initial thought of the film was that it was extremely realistic; at times I even forgot I wasn’t watching first hand footage. The use of many shot types helped fuel the independent filmmaking movement. It was hard to follow any one particular character because they were either killed or too similar to the others. This served great justice in making the viewer focus on the more disgusting sides of war and even when a connection was formed (ex. The nurse who was helping soldiers from both sides), she was quickly killed off. There is no side taken, giving the viewer this feeling of being dis-attached observing what is going on as a whole. Laszlo Strausz argues, “Janscso’s films never directly address political themes … what he does instead is to display and criticize national ideologies in indirect ways, through stylistic choices”. This was in part to comply with the communist-era laws governing films. “Jancso’s work often deals with themes of oppression displaced into the historical past, thereby avoiding the cuts of the state censors”. This film definitely didn’t keep me on the edge of my seat, but that helps assure the authenticity of the film compared to modern day “hollywood” drama and action that is plugged into just about every movie now-a-days. A technique that I enjoyed and was used quite frequently was pan shots. The camera would move with what was going on or better yet sway away from scenes that are better left unseen for ones imagination to interpret, such as extreme violence. Overall, for its time, this film brought something new to the table in terms of how a film is presented. Nonetheless the filmmakers did a good job.
Strausz, L.. (2009). THE POLITICS OF STYLE IN MIKLÓS JANCSÓ’S THE RED AND THE WHITE AND THE LORD’S LANTERN IN BUDAPEST. Film Quarterly, 62(3), 41-47. Retrieved March 7, 2011, from Research Library.