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monty
Song of the Miraculous Hind - Loadstar of the Hungarians - Interview with Marcell JankovicsAfter Johnny Corncob and The Son of the White Horse, you've made an animated feature film about the Miraculous Hind. Have you been interested in this legendary world of for long, or you picked this topic with Hungary's millennium in mind?
- Both. I wanted to see the story of the Miraculous Hind in an animated picture since I was a child. I think it is very important that the crucial parts of our culture, those that define us, should be recorded with the help of modern art forms.
Two styles, two worlds are interchanging in the film: a realistic and an artistic one.
- In The Tragedy of Man I have already tried to pitch a realistic, archeologically and ethnographically authentic, but very un-cartoonlike world with an artistic world. In order to make that happen in this movie too, I needed the assistance of József Gémes. His film on Toldi, Herioc Times is a realistic animation of oil-paintings. So if there was a person who knows this technique, it had to be him.
Over the course of the Hungarian’s journey, in the four songs, the colors and the vocabulary are constantly changing as result of external impressions.
The four parts are clearly separated. The first song takes place in 3000 BC, or I should say at the end of the Ice Age. The second song starts at around 600-700 BC, when Hungarians and Schythians met and our ancestors became a horse riding nation. This song covers about 1000 years. The third song is the world of Etelköz, when Hungarians lived alongside with the Kazars and other Turkish peoples next to the Caucaus, and it also covers the times when Hungarians invaded the area which is now Hungary. The last song is about the reign of Prince Géza. The symbolic division of the songs is modeled after a picture on the so-called number two amphora of the Nagyszentmiklós treasure.
The songs are linked in a way that at the end of each episode, the style of the protagonists changes. For example, when Árpád arrived in Pannonia and stops in front of the map of Hungary, then he does so in a Turkish-like scene, but as he stands there and we hear the beautiful singing of Mária Maczkó, the scene slowly changes to the style of history books of the Middle Ages. What I intended to express with this is that the transformation of cultures and lifestyles takes place in a few seconds in this film. This is also expressed emotionally.