In movies, metros or tube systems are usually shown to establish the mundane lifestyle of a character. The same system is used to distill a fine action/adventure sequence, where the hero chases the villain or when the hero saves lives from the mitts of a deadly monster, living underground. US born Hungarian director Nimrod Antal’s “Kontroll” (Control, 2003) is about existentialism as well as has some good low-key action sequences, but the only difference is that , the movie is fully set in this neon-lighted underworld, where the subway system becomes a character in itself, than just being a mere backdrop. “Kontroll” is an allegorical journey (allegory of what? you would definitely come up with various theories in the end) that is more concerned with the atmosphere. It possesses a mystery at its center, and instead of answering the mystery, it only throws more questions (beguiling ones) at us.
The movie starts with a disclaimer of sorts, where a public
transit official of Budapest reads from a clipboard that the movie might cause
some unfavorable impression on subway employees. However, the same man reads
that the film-maker’s intentions are only ‘symbolic’ and that the film’s themes
are universal. I certainly don’t know the reality within Budapest Public
Transit System, but Antal evocatively creates a setting with an intimate
realism, which looks like a netherworld with its own rituals and culture. In
this world, the ticket collectors (or ‘controllers’) are the cursed beings.
They are not the clean, uniformed ones we usually see in films. These controllers
are identified by a red-and-black armbands, and apart from collecting tickets,
they also collect the citizens’ contempt.
The controllers’ primary task is to maintain order in the
metros and to make sure than nobody gets a free ride. Although on the outset it
looks like an easy job, after looking at the drunks, weirdos and thugs, their
task seems to be formidable. The movie centers on Bulcsu (Sandor Csanyi), the
head of one of the ticket inspection squad. He seems to be hiding from his past
life. He lives 24 hours inside the underworld, where he constantly fights off
with other rival gangs of ticket inspectors. Bulcsu team has four unkempt,
eccentric men: cynical, chain-smoking. Mucsi; a lanky, sort-tempered
narcoleptic, Muki; a geeky new-comer, Tibi; and the short, blusterous Lecso.
These ragtag guys often engage themselves in absurd duels
with riders, who hate any kind of authority. A pimp offers one of his girls,
but refuses to buy a ticket; a tourists laughs off at ticket inspectors, hiding
behind language barrier; sexual harassment shouts a woman, when asked for the
ticket; a guy threatens with a syringe; and a woman puts even puts a curse on one
of the inspector by blowing powder in his face. Amidst all this, Bulcsu’s team
is constantly badgered by Bootsie – prankster and a fast runner, who likes to
spray foam on inspectors’ faces. In such a crazy world, there is a sinister force
– a mysterious black-hooded guy, who shoves passengers in front of oncoming trains.
Bulcsu, at last finds his solace after meeting with a beautiful bear-suited
young girl, Sfozi (Eszter Bella). Her angelic presence could be described as ‘light
at the end of the tunnel.’
The articulate camerawork and fluid shots reminds us of “Run
Lola Run” (1998), whereas the high-strung depiction of urban psychology is
reminiscent of Scorsese’s “Taxi Driver” (1976). The disaffected
characterization of Csanyi as the Bulcsu resembles the ones played by young Al
Pacino (of ‘Serpico’ days), whom similarly outruns various kind of demons that
lurks around every corner. Unlike Luc Besson (in“Subway”) or Joseph Sargent’s (in
“Talking of Pelham One Two Three”), Antal efficiently imbues a layer of
metaphysics into the plot’s mix of action, suspense, and romance. There are
hectic foot chase as well as interludes, where Bulcsu (both symbolically and
vertaibly) explores the subway’s depths. However, it is a sad fact that director
Antal, after “Kontroll”, has only made generic average thriller fares like “Predators”
(2010), “Vacancy”, and “Armored”.
The metro system really forms a cumulative impact upon the
viewer. When we see the trains coming in and out, its doors closing and opening
in empty and filled stations, we feel a metaphorical significance. The subway
becomes the symbol for a battered city, where its ceaseless, repeating pattern
of actions makes the citizens weary of their lives. The deadpan answers of
denizens to ticket inspectors might be reminiscent of Eastern European brand of
sarcasm, but the people’s scorn for authority is universal (as if the scorn is
the only thing that is keeping them alive). It is also important to note that
the ‘controllers’ are shown as belligerent with the characteristics of bullies.
However, the cause for belligerence is quoted earlier, in the film by a wise,
chain-smoking guy: “If you’re surrounded by aggressive people, you run a risk
of also becoming one – it’s like a vicious circle.”
“Kontroll” could be viewed as an allegory for hell, where a
girl dressed like fairy saves our protagonist or it could be just ruminations
on human existence, as in one scene, Bulcsu comes across a cement wall at the
end of subway, which might harshly symbolize our life’s limitations. We never
know about the real identity of Bulcsu and the serial-killer. There are theories
that bring out a “Fight Club” like vibe to this mystery, but this
open-endedness about the identities is what makes the film a compelling and
grimy fable.
“Kontroll” (110 minutes) is a darkly comic existential drama
with serpentine surprises. It is about persistent human beings, who lead an
exhaustible life in a place where the sun don’t shine.
Trailer
1 comment:
This movie really excites me. Thank you bringing it under my notice .
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