György Szomjas’s first feature—made after a decade of short documentaries—is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with image of a lone horseman on the empty plain, riding past a rude gallows. The film concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers and hardbitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films)—a feast of loamy, autumnal colors.
Bored and restless, Alice spends much of her time lusting after Jim, a local sawmill worker. When not lusting after him, Alice fills the hours with such pursuits as writing her name on a mirror with vaginal secretions and wandering the fields with her underwear around her ankles.
Lionel Twain invites the world's five greatest detectives to a 'dinner and murder'. Included are a blind butler, a deaf-mute maid, screams, spinning rooms, secret passages, false identities and more plot turns and twists than are decently allowed.
A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.