Word: kadar
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Adrift, Jan Kadar's affected failure. 6, 9:25, With Firemens Ball, 8:05, 4:45 weekend. Central...
...Kadar works with the absence of language to build an unbearable tension that his hero cannot dissipate. The girl, Anada, remains almost totally silent in Yanos' presence. She neither denies nor confirms the flirtation that his jealousy sees in all her movements near other men. When he discovers her alone, bathing nude, her actions stay neutral: she does not speak; her eyes reveal neither contempt nor attraction; she leaves the water and walks past him. Yanos is suspended in time, his sexual longing keeping him from turning away, his morality from advancing towards her. He cannot speak, for Anada...
...Kadar owes many thanks to his cast, especially to his principal trio, for establishing a delicate imbalance of mood and then duplicating that same mood a year later. Rade Markovic as Yanos conveys the full range of his character's emotions and turns of personality without losing sight of the fisherman's basically uncommunicative nature. Milena Dravic portrays the wife as simple and innocent of her husband's lust without allowing her to appear to be simply stupid. Her pleasure in having a companion forms a perfect counterpoint to Yanos turbulent feelings towards the intruding girl...
...ANADA. Paula Pritchett radiates a constant yet unmeditated seductiveness that drowns her rescuer in uncontrollable yearning. Kadar has exploited her dazzling beauty--and it is extraordinary--to project an indefinable combination of passivity and centripetal power. Reflecting the nuances and unsettling suggestions of the narrative, the camerawork moves from clear undisturbed landscapes to introspective shots of the mist-covered Danube. The symphonic soundtrack is occasionally over-dramatic, but mostly, it serves to reinforce Kadar's carefully composed ambiguities...
...Kadar's exploration in Adrift of awakened sexuality and guilt is much more complicated (and demanding of his audience) than the painfully unswerving motif of complicity with evil he probes in The Shop on Main Street. Kadar has moved beyond a smoothly delineated story to create a disturbing aura of the off-balance and indefinite. The moral wrong against the Jews depicted in the older film may be more immediately dramatic, but the morally taboo of Adrift is ultimately more interesting. Kadar resolves none of the dilemmas that his movie raises; he merely suggests the universality and complexity...