Adoption (Örökbefogadás, Hungary 1975)

This title was screened in the Berlinale Classics programme and marked the return of a film that was the Golden Bear winner in 1975. It was also the film that established its director, Márta Mészáros, as a internationally recognised film-maker.

A widowed working woman in her early forties would like to escape the emptiness that surrounds her by having a child with her married lover, to whom she is attached only as a matter of habit. . . . One day, a girl who has run away from a home seeks shelter with her.”

The home is a state orphanage. The girl, Anna (Gyöngyvér Vigh), is in her late teens and already involved in a sexual relationship. The older woman, Kata (Katalin Berek), works in a factory but also has an interest in wood work, which she does in a small workshop at home. Her home is near a small town but separated from other houses and Kata is also separate from the other residents. The orphanage is very free in its control of the young people. This seems to be, in part, because it is under-resourced. But the manager does seem fairly sympathetic. This culture enables the young inmates to indulge in activities outside the home, so Anna regularly meets her boyfriend, Sanyi (Péter Fried) who lives and works in a nearby city and travels down to meet Anna.

The films gives a sense of these characters and the operation of the home when we see Kata, returning from work. Anna, in a group of teenage girls, teasingly confronting Kata begging cigarettes. And we also get a sense of Kara’s relationship with Jóska (László Szabó) at a tryst, he is clearly less involved than Kata. In a later scene in a park he is definitely troubled when Kata raises the issue of children. Even later he takes Kata home on the pretext of her being a colleague from work. His wife seems unsuspecting whilst there is also a young child in the family. Jóska is obviously a male chauvinist and that is his role in the narrative. But the much younger Sanyi displays a strong affection and responsibility for Anna. Whilst the manager at the home is seen later showing both sympathy and practical assistance to Kata and Anna.

We only get a representation of the Hungarian state at this time at a remove, but the sense is of a rather underfunded and inadequate bureaucracy rather than the stereotypical representation found in western films at the period.

The film has fine black and white cinematography by Lajos Koltai. Mészáros uses frequent long takes, not just for action but also for contemplation. Several times we see Kata at her work table and the sense of her ruminations on her situation. The film editing by Éva Kármentõ carefully juxtaposes the several repeated settings; Kara’s house, the orphanage and the places where Kata and Jósha have their trysts. There is much location work but production design by Tamás Banovich marries studio set-ups with the natural settings. And by the end of the film we see a traditional celebration with a convincing sense of ordinary people enjoying an occasion. The film sound and music by György Kovács fits in with a general naturalistic feel.

Mészáros scripted the film with two colleagues, Ferenc Grunwalsky and Gyula Hernádi. The writing both presents characterisations that seem taken from life; that are unconventional in terms of the European cinema of the time; and which develop with a real sympathy for ordinary people and everyday life.

In 1975 the ‘Berliner Morgen post’ commented;

The Hungarian director, a woman, has come up, not with a drama but a low-key reticent everyday story that is full of tenderness and hope. In a succession of filmed-to-the-life occasions, Kati Berek makes her mark as a sort of Budapest Annie Giradot. Quiet, strong and true.” (Giradot is a fine French actress who at this stage of her career had graced Rocco and his Brothers (Rocco e i suoi fratelli, 1960) with an outstanding performance).

The paper’s note of the director being a ‘woman’, picked up on the Mészáros being the first woman director to win a Golden Bear Award. And she and the film won a number of other awards as well. Márta Mészáros was there to introduce the film. She spoke with emotion of her memories of the visit to the Berlinale, she was then an unknown in western Europe and this her first experience of a major festival and major awards.

There was also a staff member of the Hungarian Film Fund Film Archive who have produced the digital restoration of the film onto a 4K DCP, with English subtitles. The restoration was based on the original camera negative and a magnetic tape of sound. This was supervised by the original cinematographer, Lajos Koltai. The restoration differs in an important manner from the original 35mm. Mészáros had wanted to shoot the film in a scope format but was unable to do so and the film used the academy ratio. This restored version has been produced in 1.85:1; closer to the desired scope format. In other ways it reproduces the original. The change of ratio is unusual. The Berlinale staff were unsure but thought the version at the Festival might have been in 1.85:1 as well. This presumably would have involved plates or masks in the projector. I think when I saw the film, long ago, it was in academy. I have to say that in 1.85:1 there was no obvious cropping of the image. We did not hear the technical description of how the reframing was achieved.

The archive have actually restored ten other titles directed by Mészáros between 1969 and 1999, including the famous ‘Diary’ series. They have all been restored digitally at 4K and will be available this year and in 2020. Given Mészáros’ status,

together with her contemporaries Agnès Varda, Larissa Shepitko and Vera Chytilova, she ranks as one of the most significant female authors in the world.” (Restored Films of Márta Mészáros, Hungarian Film Fund).

We should expect this title and the other titles that follow to get a British release. This film was a deserved winner of the Golden Bear in 1975 and has maintained its quality and relevance; Mészáros’ other films equally offer both quality and satisfaction.

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