Survival and the hardships of war are explored from a very specific
and thought-provoking perspective in János Szász’ “The Notebook.” A pair
of twins in
Hungary during World War II is left to fend for themselves when
their parents must move away escaping prosecution. Their hateful
grandmother, who is
supposed to care for them, forces them to work tirelessly and shows
no compassion despite their young age. Progressively, they desensitize
enduring pain, starvation and getting rid of any memories from their
past life, including their mother. Szász’ savagely beautiful film
enhance with a touch of fantasy, but always aware of the dark world
in which his characters inhabit. Heartbreakingly poetic and visually
Notebook,” based on Agota Kristof’s novel Le grand cahier, is one of
the most daring European films of the year.
The film was Hungary’s Official Oscar Submission last year and it
made it to the final 9-film-shortli out of 76 titles submitted.
Szász kindly talked to us from Hungary about the performances in his
film, the origin story of the project, and the hint of hope underneath
Tell me about the origin of the project, where you interested in the novel beforehand?
“The Notebook” is a very old story. 15 years ago, the first time I read the book I fell in love with it and I immediately wanted to take the rights,
everyone laughed at me for that. Getting the rights was very difficult because they were taken for 15 years, and many directors wanted to make it into a
movie. I had made the short “The Witman Boys,” which is also a story about two very young souls, in a way I wanted to make another film in this genre. I
was in the queue to get the rights.
Finally, approximately four or five years ago I had the fortune of meeting the author Agota Kristof. Every character in
the novel comes from memories of her life. In 1956, during the anti-communist revolution, she got pregnant. She and her family had to leave Hungary. She
didn’t want to leave because she loved this country. It was a very dark time in her life, because she didn’t want to be a deserter, as she would say. She
died two years before we began to shoot the film. She was a wonderful person. We became very close. She was someone who could not lie. She didn’t want
to lie about her life. She didn’t want to lie about how hard it was for her and her brothers. She told me it was very painful to write this book.
Aguilar: Both twins, László Gyémánt and András Gyémánt, deliver marvelous performances. They are unflinching and naturalistic throughout. Was it a difficult task for you to elicit this from the young boys?
To tell you the truth, it was really easy [Laughs]. We found these two kids in a very small village in the south of Hungary living in poverty. They had been
living a life that was not very pleasant. They lived with their grandmother and they had no money. They, despite being children, had to work everyday. When
I visited them I started telling them about the war and how hard life is, etc. They were just laughing at my face. They told me, “Janos, we know exactly how
hard life is.” They had their own similar experiences, so what you feel when you see them in the film comes from their past. They were
able to base the story on those experiences. For the scenes where they beat each other, we talked to Andras, and it was clear that this
sort of thing has happened in their lives.
There were difficulties at times. Imagine two boys from the countryside who suddenly find themselves shooting a film. They have their own van, everybody loves them, but it’s only for 50 days of shooting. Suddenly it stops, and it was hard for them. We
couldn’t take them back to where we found them like if they were props. I’m very happy that we still have a very good relationship and to know that they are
in a college in Budapest. They have a chance to try to have a better life now. On set, what was difficult was that, even though their presence is strong,
they were two amateurs. All the other actors are professionals, and it was hard for them to achieve this kind of simplicity. As a director, my job was to
help those actors be simple, not to do much.
Aguilar: The film has a specific visuals aesthetic. It is realist, but also ventures into a sort of dark fairytale. How did you achieve this particular atmosphere?
Christian Berger was our cinematographer. He is great. He has worked in films like “The White Ribbon.” First off, this is an adaptation, and I, Janos, as
the one adapting, have to think about a lot of things. In the book there are no names for the boys and the voice is always in plural, “we decided” or “we
did…” I told Christian that it was very important to find this “We.” Therefore, we chose to shoot the film in cinemascope and to always have these two guys
together in every frame.
They are always together, but at the end we notice this erosion in their relationship. I did think of it as a dark fairytale, but
it was very hard to make a war movie without showing war. There is abuse and violence, but I think my intention to make a cold fairytale came across. I
didn’t want to get too close to things, I wanted visual distance, that’s why I was knocking on Christian’s door. I wanted to find someone who doesn’t want
to get too close, someone who doesn’t want to provoke your emotions. He is a master at keeping that distance, while still taking the audience close to the
Aguilar: The notebook in the story seems to represent an alternative reality for these two boys. What are your though on the role it plays?
The notebook is the only place where they are honest. It is like a priest, like a confessional for these two kids. It is a place for fantasy, that’s why I
decided not to use only the words but to bring the notebook to life. It is also a very secretive tunnel into the truth. If you are Catholic, every Sunday
you’d go to church and talk to the priest, but in the story the priest is not a person. This fairytale territory represents freedom.
Aguilar: In order to survive the twins desensitize themselves, they try to forget their loved ones to become stronger. Where you ever concerned of how bleak or how dark you could make the film? I think there is a compelling sense of unyielding courage to your approach.
I think the novel is much more darker. For me it is not that dark
because it is the story about two boys who are taken to live with their
grandmother. The mother tells them they must continue learning, but
that above all they must survive. These are two good boys, and they
listen to their
mother. They will continue learning, but the subject has changed,
the subject now is the war. They are learning how to survive it. They
are gaining skills,
but even if they come out physically alive, do they survive the war mentally? They
need to be strong, they need to be able not to eat for days, and they
need to forget
about emotions. To have emotions during the war would be like committing suicide for them. They have a new moral code, which during the war is not
so black and white.
You can’t really judge their actions towards other people. Even with
their grandmother, there is hatred there, but under the skin of
that hatred one
can see a special type of love. The bleakness is not so black and
Aguilar: Despite all the events and situations these two boys must go through, do you think there is a place for hope in their journey?
János Szász: Personally I think there is a lot of hope in the story. They still preserve a certain kind of innocence. They have gone through terrible things, but they
had no choice but to do those things. Eventually, they must part and separate, but this represents hope. This is their only hope. One of them goes west,
just like the author Agota Kristof, and the other stays in Hungary. This is their hope for a new life. You must know that this based on the first book of a
tetralogy. In the second part they return and they reconnect.
“The Notebook” opens today in NYC at the Quad Cinema and in L.A. at the Laemmle Royal in Santa Monica