Gloomy Sunday - Ein Lied von Liebe und Tod

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Facts and Figures

Box Office Worldwide: $585.6 thousand

Production compaines: Studio Hamburg Filmproduktion, Dom Film GmbH

Reviews

Contactmusic.com: 3.5 / 5

Cast & Crew

Director: Rolf Schübel

Producer: , , Andreas Schreitmüller

Starring: Erika Marozsán as Ilona, Joachim Król as László, Ben Becker as Hans Wieck, Stefano Dionisi as András, András Bálint as Ilonas Sohn, Géza Boros as Geigenspieler, Rolf Becker as Der alte Wieck, Ilse Zielstorff as Frau Wieck, Ferenc Bács as Botschafter, Júlia Zsolnai as Frau Botschafter, Aron Sipos as Arzt, Ernst Kahl as Zeichner Torresz, Jörg Gillner as Chefkoch Istvan, Denis Moschitto as Lehrling Inas, István Mikó as Kartoffelhändler

Gloomy Sunday - Ein Lied von Liebe und Tod Movie Review


This melodrama is set against the backdrop of World War II, the invasion of Budapest, and the Holocaust. Amazing how much heft love triangles gain when set against the backdrop of global crises. Gloomy Sunday - Ein Lied von Liebe und Tod is an epic period film with a ménage-a-trois at its center; one that asks its audience to wish happiness upon a merry threesome that tries to get along despite the world falling apart around them. That would be a clever enough twist, told with surprising poignancy and depth, but Gloomy Sunday goes even better. Its title refers to that famous European ballad that became notorious for supposedly driving its listeners to suicide, and indeed that titular song becomes the crux of the film. One of the threesome, moody pianist András (Stefano Dionisi), is the composer of that ballad --and the conscience of the film as lost souls die around him and the Nazis come to town.

Director Rolf Schübel handles 1930s Budapest with period film stateliness, but he encourages lively performances from his three leads. Erika Marozsán is a sumptuous young hostess to restaurant owner Laszlo, played with flair and a touch of good-natured swarthiness by Joachim Król (Run Lola Run). Laszlo hires András to play in his restaurant, they both fall for the same woman, and they find an accommodating relationship. It's handled with an appropriately light touch.

Gloomy Sunday spends ample time in the luxurious restaurant and the sunlit bedrooms of this trio, and becomes increasingly pedestrian as Nazi industrialist Hans (Ben Becker) tries to move in on their action. Reversals and betrayals ensue, and the "Gloomy Sunday" song continually hangs in the air like a richly melancholic threat. Appropriate, then, that the melodrama eventually transforms into a tragedy and then a tale of long-term revenge. The narrative unfolds like the pages of a novel, and though the visuals and the narrative lack the poetry to go along with the inherent mysticism of its suicide ballad, its story remains enticing, occasionally griping, and finally touching. For a grand scale weepie, Gloomy Sunday earns its tears through some transparent heart tugging, but its design is tasteful and elegant.


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