{"id":71,"date":"2018-10-23T13:48:02","date_gmt":"2018-10-23T12:48:02","guid":{"rendered":"http:\/\/generic.wordpress.soton.ac.uk\/skywritings\/?p=71"},"modified":"2018-10-23T13:48:02","modified_gmt":"2018-10-23T12:48:02","slug":"a-temetetlen-halott-2005-09-03","status":"publish","type":"post","link":"http:\/\/generic.wordpress.soton.ac.uk\/skywritings\/2018\/10\/23\/a-temetetlen-halott-2005-09-03\/","title":{"rendered":"A Temetetlen Halott 2005-09-03"},"content":{"rendered":"
The irony of “A Temetetlen Halott<\/a>” (“Unburied Remains” or “The Uninterred Corpse,” woodenly translated “The Unburied Man”) is buried in its one good metaphor: that what tormented Imre Nagy (the abettor of the ill-fated and short-lived Hungarian uprising of 1956) the most at the end was that his (inevitable) posthumous rehabilitation would be at the hands of his own assassins (rehabilitating themselves).<\/p>\n The film ends on the note that Imre Nagy’s exhumation and reburial with honours was not done until 1989, after the remains of the post-1956 regime had faded out (and on the very day his successor\/executioner J\u00e1nos K\u00e1d\u00e1r died). But it seems to be lost on the film-makers and the nation that the internecine squabbles among the true-believers (few) and the opportunists (many) about whether 1956 was a revolution or a counter-revolution had itself been just another incarnation of Hungary’s unburied cycle of red\/white — previously black-yellow\/red-white-green) oscillation and carnage. The same archetypes keep re-emerging, out of the self-same mother-soil and blood-types that the film is here whitewashing (in accordance with the current cycle), if not beatifying. <\/p>\n But Hungary is perhaps no worse than the rest of the planet in this regard, and certainly not the worst.<\/p>\n The film itself, apart from a few moments of good character acting, is dead dialogue and dreary docudrama throughout.<\/p>\n