Imre Tárkányi: Flood-lights and the Movie Screen
- Papers on the Theatre and the Pictures -
In his epilogue to the book, the author Imre Tárkányi writes as follows: "Theatre performances and films, actors and stars. Memories evoked on the pages of this book. They are dear to me, and also perhaps to others...."
These lines cast light on the author's intention and are the key to the reading and rating of this little book. Through its short portraits and tiny analyses, one receives an insight into the wonderful world of theatre and film, while chapters of the history of theatre and film evoke. The papers make a pleasant reading and are written with a love for their theme, and each one is a proof to the respect and appreciation the author feels for these two genres of art. Subjective experiences trigger the flow of reminiscences, and later, - with the scope of the memories widened- events are conducted into a chronological order.
These papers on the history of film classify decisive phases, figures and genres of Hungarian and international film. Memories, portraits, memorable films and acting flash up. : "A couple of pictures, a couple of memories - the magic of the moving picture, as I remember it."
The history of Hungarian film is portrayed from the appearance of the first sound film , i.e. The Blue Idol (1931) until the last but one year of World War II., 1944. Imre Tárkányi's intention is to mention every film that can be considered a milestone of Hungarian film-making. He ushers his readers into the "Hunnia", the dream-factory of the 30s, which produced comedies by the dozen and gave birth to films about white telephones and the life of the landed classes.
That is where Hyppolit the Footman started from for a career of great success. The film, in spite of being only our second sound film, became the permanent experience for many generations. In addition to famous films, the authors also mentions the more important directors. Pál Fejõs embarked on his career in 1932 with two excellent works of art: Spring Shower and The Waters Decide, while his later films were made abroad. No wonder that Béla Gaál, István Székely as well as the films which represent the yield of this era have been popular and the author is happy to remember them, i.e. Ghost Train, Rákóczi March, Ball at the Savoy, Dream Car and countless others. Yet the success of a film did not merely depend on the screenplay writer and the director, but also on the favourites of the audience, i.e. the stars. Imre Tárkányi devotes a separate chapter to the movie stars of the 30s and the 40s. Under the title "The stars of Hungarian Film" a few data, acting and films deserving attention inform the reader - in the manner of a lexicon - about who the stars of a one-time Golden Age were. In addition to the headings, a few poems written by the author can also be found in the volume, among others a 1984 birthday celebration, dedicated to the then 85-year-old Antal Páger. In the second part of his journey through the history of film he focuses on international film history, highlighting some of the peculiarities of the genre and casting light on certain eras of importance. A subjective tone typifies also these chapters. The author recalls his childhood movie experiences and remembers the starts he admired, e.g. Danielle Darrieux, Ingrid Bergman, Gina Lollobrigida, Laurence Olivier. "Films, Daddy's movies... Why do I talk about them today, in the age of the video? Perhaps because I hope that others will also remember the old, long-forgotten films of their youth..."
In addition to film, Imre Tárkányi has been an expert on the history of the theatre, keeping a constant eye on new performances and premieres. His writings have been published by the periodical Kláris. His earlier theatre criticisms have been included in this book, but extended to cover his more recent theatre experiences. While the author goes through the history of film in a chronological order, highlighting some of the more colourful spots of a greater age, in this chapter he discusses performances, acting and casts, going "From Theatre to Theatre". Theatres like the Nemzeti Színház (National Theatre), the Mûvész (Artist) Theatre, the Várszínház (Castle Theatre) and the Vígszínház (Comedy Theatre) are discussed here, as well as a number of others, ones that are important because they have all offered something of their own and contributed to the versatility of Hungarian theatre. In this chapter successful performances take the place of famous films, i.e. theatrical pieces which have been put on stage again and again so that each generation may get acquainted with their story and their characters. Even the gates of the Museum of Actors open up, and stepping over its threshold the reader may read about Gizi Bajor, the great woman of tragic fate as well as those actors and actresses who may no longer be with us, but whose acting have became permanent chapters of the history of the theatre. Such actors are Anna Tõkés, Edit Domján, Éva Ruttkai and Sándor Pécsi.
In his lexicon, Imre Tárkányi mentions also his contemporaries, since they are the ones who continue, and later leave to others, the hard road of the theatre which started with Gizi Bajor. Besides names like Margit Lukács, Irén Psota, Sándor Szabó and Gyula Benkõ, many others are mentioned who help us conjure up the memory of by-gone eras.
Imre Tárkányi's book is a guide to those who, being familiar with the figures and the works of art of Hungarian theatre and film, now wish to evoke these with his help, but is an equally reliable guide to those who would like to get acquainted with an age where true stars used to live, among secrets and mysteries.
(Imre Tárkányi: Flood-lights and the Movie Screen, Papers on the Theatre and the Pictures. Budapest, Uránusz, 1966. 178.p.)
