The Prince (of Darkness) brings chaos with him but those that are roused to enter acts of chaos in the film by the Prince can only be so roused due to flaws in themselves. For just as music, something Werckmeister saw as the ultimate result of God's work, could have such a deeply imbedded aesthetic flaw in it so too do we humans - capable of caring, as we see in one of the early tender scenes where Janos puts his uncle to bed, but also capable of barbaric acts. A beautiful, mesmerizing film.

Mighty, mystical and (ambiguously) downhearted... At times intensely interesting. After the first 45 minutes I lost more or less interest, but up to that point this was brazenly overwhelming in its cordial tranquillity and singular composedness - the editing and framing treats the "commonplace"/"insignificant" as something majestic, and Tarr's focal point reveal gravity and extraordinary enthusiasm for what he's doing. Far more interesting than Damnation, although still somewhat unsatisfying.

Tarr makes directors like Antonioni and Tarkovsky feel rushed.

The only film to ultimately lead me to a relationship. My love for this movie has no boundaries.

Within every continuous shot upon rewatching this film I saw a masterpiece, where every use of space etc. is used to place you both in a dreamstate and a reality, and yet always has a meaning to it. It is Tarr's most phantasmagoric film from what I've viewed but it could be as much an allegory of the Iron Curtain and of a universal theme; like music, if the harmonies of human beings is broken, chaos is left and beauty (the whale) is left to rot. This is a leviathan amongst 21st century cinema.

The real essence of Cinema for me.

This is clearly a reflective exploration movie. Later through the day on cafeinne I would have ignored it completely as artsy-fartsy. Given into the mood, it brightened up my day (although it's mostly dark). One thing I didn't like is how the villagers try to stay forcefully still, it seems unnatural. It'd be polite to note Tarr's appetite is distinctive in this decade.

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.

Werckmeister Harmóniák

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.

Haunting.

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!

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.

Still needs to sink in, but this movie sure as hell is an experience. The superb camerawork makes every (long!) shot a mesmerising trip that completely sucked me in. The story has a slightly unreal tinge to it, which makes the viewing even more unique. Fascinating, beautiful and haunting. And that opening scene! Never before did I expect to have my heartstrings tugged by a bunch of drunken old men twirling around in a bar at closing time.

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.

An enigmatic and (despite what Tarr himself says) allegorical film, which can be interpreted in oh so many ways. A metaphor for historic and/or current political events or perhaps just the story of an idealist who is forced to face the harsh realities of the world. You decide. Beautiful imagery and wonderful music also make it quite possible to simply float along without really analyzing it. This is one for the heart as well as for the mind.

Wow. This is an amazing film. The opening bar bit and the hospital attack are two of the best scenes I have ever seen. A totally unique director. Reminds me of a Tarkovsky that has watched a lot of David Lynch films.

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.

Beautiful. You can watch it and and try to unravel the allegorical meaning 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.

If the slow pace doesn't put you off, you will be rewarded by amazing camerawork and a thoughtful, albeit dismal view of humanity.

Yeah, I can't even talk about the hospital scene without getting goosebumps. Though it's the best scene in the entire movie (it's iconic) there are still a lot of other really memorable scenes. The movie is intellectual without being wankery. It makes you reflect and think but there is real emotional depth in there.

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

DNF

Tarkowsky's level of cinematography.

Two absolutely incredible sequences (the bar and the riot) offset by another two and a half hours of yawning. I just can't do Bela Tarr. Simply too tedious for me.