Tarkowsky's level of cinematography.

Beautiful. You can watch it and and try to unravel the allegorical meaning - the whale representing the natural order thrown out of balance, the Prince representing the way right-wing ideologies infect societies like a virus? - or you can just sit back and admire the way it looks. The way the camera moves, the choreography of each scene, the sublime use of music. It won't be everyone's cup of tea, but I loved it.

A kind of "moving painting" about civilization. My interpretation (spoilers): Modern civilization has a flawed foundation--one stemming from hubris that will ultimately and inevitably lead to ruin. A traveling sideshow comes to town presenting two options: a whale, a Christ figure, or the Prince, an anti-Christ figure. Choosing the whale requires humility, which can save civilization. Choosing the prince signifies retrenchment and destruction. Watch the film to see what they choose.

A dauntless and endlessly complex drama that has few rivals in its sophistication and overwhelmingly beautiful cinematography. An important, essential work.

zzzzZZZZZZZ.. eh? Wow, what a tracking shot.... but, damn, this movie is slooo zzzzZZZZZZZ - huh, a beautifully shot gigantic whale! Ahem, uhm, end titles? Okay.. the score is actually really nice. It is, however, unlikely that I will try to stay awake for a rewatch; for that it seemed much too uneventful.

As graceful as a film can be.

92.250

To see this haunting, poetic film feels like being exposed to a revelation that, even when understood (to each his interpretation, of course), can never be fully comprehended. More than a film or a revelation it seems to be a living, breathing organism, walking aimlessly in midst of the most scarce of human experiences. But to explain how perfect this film is would cost me to use details and expressions that will never, in no way, describe the unique experience that this film was.

Great camerawork, yes, but far too long and far too boring. I could give it a pass if this movie came from the 60's (which it felt like it did)... but it didn't.

I've seen 2 of Tarr's films (and judging by my scores, his best ones). It's not easy putting into words what you're witnessing, haunting and immersive at the same time. Fear is among the town's people though it's evasive and abstract, it intends no less than to disrupt the natural order and unleash an overwhelming cataclysmic pandemonium. The work of a visionary, a perfect symphony of sound, imagery and story that becomes something new entirely. Otherworldly if you will.

Right on the borderline of greatness, with everything working together to create a very moody and somewhat creepy film. The long shots increase the tension even when little is happening and the acting heightens the surreal quality of the events.

Unbelievably visually hypnotic; it's a real pleasure to read this film (not the subtitles, that is, you can do without them). The allegories, the long takes, the muted, but strong emotions all come together so well in this wonderful parable. My rating is unfair because this is a film that gets better on every viewing.

A beautifully shot, powerful film that touches on both political and religious themes from Hungarian history. A film i feel like i need watch again. Yeah, it's slow, but it gives you time to think things over.

Powerfull scenes and great cinematography but the slow pace was a bit too much for me sometimes.

Nietzsche would've loved this. A film about how easy it is for poor, miserable people to be seduced by nihilism, violence, and anarchy. Though the darker, more enigmatic atmosphere pushes this above Satantango in my book, Tarr's apocalyptic and desolate imagery and themes, jaw-dropping long takes, and incisive philosophical dialogue always come together to make watching any of his films a completely absorbing and unforgettable experience.

A few undeniably great shots and sequences in what seems to some extent a remake of "Jaws" with the shark replaced by a dead whale. As the themes developed it seemed perched in an uncomfortable place between obscurity and obviousness. The intent reminded me of Bergman's "Shame" with a strong dose of Tarkovsky, but the result was more reminiscent of "The White Ribbon" (which I disliked). Fans of lengthy scenes of walking will be delighted.

In a scene in the film Ed Wood, Bela Lugosi does a spooky vampire trick with his fingers. Ed Wood asks him how he does it, to which Bela replies, "You must be double-jointed." Ed tries and fails to imitate the trick, and Bela adds: "And you must be Hungarian." That scene may or may not have something to do with how to understand Werckmeister Harmonies.

A beautifully bleak portrait of the narrowness of modern life as the people of this Hungarian village see no other hope than to exert power--either for destruction or control. Janos stands alone-a voice crying in the wilderness-attempting to bring some appreciation for mystery and transcendence into his world. Tarr's camera is eminently watchable, esp. in the bar and hospital scenes, while the inky blacks and unseen sources of light create an appropriately evocative atmosphere of dread.

"A very Tarkovsky-like arthouse movie by Béla Tarr which is often taken as an undefined allegory but I see it as a pretentious meditation on humanity's fragile existence relying on harmony and it is more enjoyable as a metaphysical horror movie with an unnamed horror... The movie employs striking cinematography but painfully long takes of men just walking for many minutes, exciting the cineasts and arthouse snobs, but I found it uninsightful and mostly a bore."

I can't quite explain why or how, but this movie is absolutely beautiful. Like some strange dream that makes you happy when you wake from it and that you think about the rest of the day. You don't always understand it but you know how it made you feel. This movie is operating on some other level of reality where images and ideas flow directly into your subconscious. This is the same reality where concepts like plot and story structure don't only not matter, their absence is actually refreshing.

May bump the score on subsequent viewings. Some unforgettable scenes.

The incredible camerawork and composition produce some astoundingly good shots. This film tested my patience a bit at times, but for the most part it's brilliant.

Nice Movie

DNF

28 Mayis 08, 04:38 AM. & bela tarr'in izledigim ilk filmi & acilis sahnesi muhtesemdir.insan ustune soylemek istedigini bela tarr kendi stiliyle soyler.hastane sahnesi ile son sahneyi insan aciklamak icin kelime bulamaz.kesinlikle bir basyapit!

This film can be neatly divided into the parts with the whale, which I love, and the parts without the whale, which I don't. Well, it's not quite that clear-cut, but seriously, this movie is just way beyond the pale when it comes to excessive artsiness. It has many beautiful images and impressive long takes, but very little that interests me at all. I'm afraid that, after two duds, I probably won't be checking out any more Tarr.

Tarr makes directors like Antonioni and Tarkovsky feel rushed.

Werckmeister Harmóniák