As a movie reviewer who has spent a considerable amount of time delving into historical dramas, I must say that “The Hungarian Dressmaker” stands out as a remarkable piece of cinematic artistry. This film is not just a period piece set during World War II in Slovakia; it’s a poignant exploration of human resilience and the complexities of survival.
In “The Hungarian Dressmaker,” Iveta Grófová’s gripping rendition of Peter Krištúfek’s novella “Emma and the Death’s Head,” we find ourselves looking back provides a surprising glimpse into the future, set amidst war-torn Slovakia during World War II. During this period, the local inhabitants were forced to tread on unfamiliar ground of authoritarian rule, as the extreme right Hlinka Slovak People’s Party gained power with the backing of the Nazis.
Although cinematographer Martin Štrba might not have deviated from his usual steady-camera approach like Terrence Malick’s later films, this historical drama would remain remarkably contemporary in its depiction of a society dominated by fear. The narrative primarily focuses on personal decisions, with the protagonist grappling between her personal safety and her potential contribution to the collective welfare.
Even though Krištúfek originally planned to tell a story of survival, Grófová understands that sticking too closely to the source material could have resulted in a film that felt familiar. So, when Marika (Alexandra Borbély) is tasked with hiding a young Jewish boy named Šimon (Nico Klimek), she decides to shift the focus from the physical survival of the characters to explore Marika’s psychological survival as she struggles to adapt and change in order to survive in a world where her old self no longer fits or her old values no longer hold true. This is done through collaboration with Krištúfek as a co-writer.
Following the decline of her sewing work in the city and growing concerns about increasing Nazi influence, she decides to relocate to a village bordering Slovakia and Hungary. Despite settling into her late husband’s run-down home and caring for Šimon, whom she tolerates rather than genuinely cares for, she is uneasy with her assigned role. She feigns motherhood for his protection, but speaks harshly to him privately compared to how a real mother might, and soon after arriving in Biskupice, Šimon is compelled to hide due to excessive caution as the Hlinka Guard arrives to seize valuable items belonging to Marika.
Instead of underlining the obvious perils, Grófová focuses on how dangerous one’s thoughts can become. Marika adopts precautions that seem unconventional, not appearing heroic for accommodating Šimon; instead, she forces him to sleep amongst swine as a means of maintaining her own mental stability. Marika also hesitantly yields to Dusan (Milan Ondrík), one of the Hlinka Guard members, though more for the comfort of physical intimacy than any protection he might offer in his position. In different hands, these moral predicaments could have caused restless nights, but Grófová lets them linger uneasily on Borbély’s countenance, who portrays Marika with a stoicism that she uses to cope with the daily struggles, as well as enough self-imposed blindness from her decisions.
In this movie, the camera frequently focuses on Marika and those around her (implying a close circular movement), yet the same issues echo across the broader community. The Slovak Guard behave without restraint in the film, but they appear weaker when their power is challenged, leaving only the residents’ personal moral compasses for guidance. Grófová skillfully uses the unique historical backdrop of the short-lived First Slovak Republic, a state that gained independence through support of Nazi Germany and did not truly reflect its people, to expose the flaws in both the guards and those they were tasked to oversee. The film is unforgiving in its portrayal of Marika’s struggles and does not shy away from presenting difficult decisions that seem alarmingly relevant, regardless of historical context.
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2024-12-07 03:48