As I have frequently confessed, I love trains and dote on movies taking place in trains and train stations. The Hungarian film "Kontroll" takes place entirely underground in the Budapest Metro, on trains and in stations. The escalator up and out seems to terrify the movie's protagonist (who seems like an anti-hero most of the time, but is, I think, heroic in the last analysis or last reel).

"Kontroll" seems to be a black comedy about a crew who check tickets and passes inside the Budapest Metro, the world's second oldest. There is a thriller aspect, recognizing and stopping a hooded figure pushing people in front of trains, but this is subordinated to the portrait of Bulscú (Sándor Csányi) and his milieu (his crew of ticket-control officer who admire but don't begin to understand him, his superiors who are very skeptical about him, the boss of the favored crew, the driver Bela and Bela's daughter ((Eszter Balla) who wears a bear costume (not at all like a Playboy bunny). There are many quirky characters plus the existential hero, a Man Who Lives Underground. (I have no doubt that writer/director Nimród Antal is familiar with Dosteovesky's novel of that name!)

There is considerable suspense, though less in the murder mystery than in two races with hurtling oncoming Death. There is more comedy as the underground "authorities" are constantly confronted with obfuscation, contempt, and occasional violent outrage. Those doing the job have little opportunity to revel in their "power," though occasionally they manage to muster enough of it to abuse those without proper tickets or understanding. And there is some extreme black comedy involving watching the remains of those run over by trains being retrieved. And, it is a "dark comedy" in being shot entirely underground!

The techno music (credited to a group called Neo) more than fits. It is an important ingredient, as in, for instance, "Run, Lola, Run." It gives a druggy (E) edge to Bulscú's inability to go above ground (and there is a rave in a station, too). Others have seen parallels to the alternative universes in "Fight Club," though I greatly doubt that there was an influence (even though Anatal was born in Los Angeles and probably is fluent in English). Offhand, I'd say there is more influence from "Blade Runner"... and Sugarbaby.

The visual transfer of Gyula Pado's images is good (though the setting tends to drab lighting), the subtitles clear (both in the sense of being visible and in being grammatical and comprehensible).

My fascination with trains and subway systems may have led to one star of the film, which will puzzle some, particularly those who think that a movie should be a comedy or a thriller, but not blend the two, but I think the casting and/or acting was brilliant and the elements of cinema are very satisfyingly executed. Plus, I love the final scene (about which, of course, I cannot detail anything).

I consider it exhiliratingly inventive, like the movies of Tom Twyker, but have little doubt that it won't appeal to some.


© 2006, Stephen O. Murray



Recommended:
Yes

Viewing Format: DVD