{"id":3161,"date":"2024-10-25T02:53:35","date_gmt":"2024-10-25T02:53:35","guid":{"rendered":"https:\/\/www.22hiffla.com\/?page_id=3161"},"modified":"2024-10-31T23:01:35","modified_gmt":"2024-10-31T23:01:35","slug":"elementor-3161","status":"publish","type":"page","link":"https:\/\/www.22hiffla.com\/?page_id=3161","title":{"rendered":"Geza Radvanyi"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Geza von Radvanyi<\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dear Ladies and Gentlemen! Dear Remembrancers!<\/p>

It is a moving honor and at the same time a great responsibility to give a speech in front of the memorial plaque of G\u00e9za Radv\u00e1nyi, the Kossuth Prize-winning Hungarian filmmaker.<\/p>

It is an honor and a responsibility, which also means a thoughtful task for the speaker, what to highlight from the life and career of the filmmaker born on this day 117 years ago under the name of G\u00e9za Grosschmid.<\/p>

After his paternal grandfather, the artist who took the name G\u00e9za Radv\u00e1ny is indisputably and today unquestionably one of the most important Hungarian filmmakers, whose sketchy presentation of his biography and films not only represents an artist with a European influence, but also the 20th century. they also evoke the turbulent and at the same time the darkest periods of Hungarian history in the 19th century.<\/p>

Radv\u00e1nyi, born in 1907 and brought up in Kassa in a respectable bourgeois family, lived in Hungary for 11 years, and without leaving his hometown he became a resident of another country after World War I and the Trianon decision that ended it.<\/p>

Even in the changing world of Kassai, his talent showed early, and he published his poems at a very young age, during his high school years, in the Kassai Naplo under the name Tam\u00e1s Ember, and then, like his older brother, S\u00e1ndor M\u00e1rai, he traveled all over Europe after high school.<\/p>

At a young age, his life-long journey to Europe, the “road movie” of his life, begins, in connection with which he said “I’ve been on the road all my life, I’ve never had an apartment in my name, I’ve never bought furniture for myself”.\u00a0\u00a0<\/p>

He works as a journalist in Paris, Geneva, and Madrid, then he came into contact with the film industry in Paris, and from the beginning of the 1930s he was an assistant director, screenwriter, and editor in German and French film factories. As Radv\u00e1nyi put it, “I never wanted to be a filmmaker, I was a reporter, then I started writing screenplays and directing was only one step from there”.\u00a0<\/p>

He was open and inquisitive, primarily inspired by German expressionism and French lyrical realism, but by the end of the 1930s he was already involved in Hungarian film production, in Budapest, surrounded by his contemporaries, talented young people, the now legendary Istv\u00e1n Sz\u0151ts, L\u00e1szl\u00f3 Ran\u00f3dy and F\u00e9lix M\u00e1ri\u00e1ssy .<\/p>

Even in his adventurous life, Radv\u00e1nyi’s marriage also deserves a separate film, since he married M\u00e1ria Tasn\u00e1dy Fekete in 1937, the former Miss Hungary winner, singer-actress who was already successful in Germany, from her then-husband Br\u00fan\u00f3 Duday, the powerful German film company UFA he asked his Hungarian producer to marry him.\u00a0\u00a0<\/p>

His wife will not only be his partner in his private life, but will also appear as a main character and perhaps as a muse in his first independent films.<\/p>

Radv\u00e1nyi already attracted attention with his very first film, directed in 1940, his psychological drama, A Z\u00e1rt targyalas, shows the struggle of a lawyer who is deathly jealous of his wife, whose role was of course played by the director’s wife, M\u00e1ria Tasn\u00e1dy Fekete.<\/p>

In the 1941 adaptation of K\u00e1lm\u00e1n Miksz\u00e1th, The Talking Robe, he also worked with M\u00e1ria, who played the role of Cinna in the high-budget superproduction of the time.<\/p>

In the same year, G\u00e9za Radv\u00e1nyi’s cult film “Europa does not answer” was presented at the Venice Film Festival, also starring Tasn\u00e1dy, with which he entered the international stage and at the same time entered the history of universal cinema. Radv\u00e1nyi was the first Hungarian filmmaker to speak out against the war with his humanistic and brave artistic work, and his work became a role model for neorealist creators. In the following two years, he moved to Italy with M\u00e1ria, where they filmed the script of an Italian writing couple, The White Men, starring P\u00e1l J\u00e1vor.<\/p>

After that, Radv\u00e1nyi and his wife returned home and in 1946 he started teaching at the Academy of Dramatic Arts and partially reorganizing film education. In the year after the war, the Hungarian film industry struggled to get back on its feet, between 1945 and 1946 only four films were made, including the 1947 film directed by Radv\u00e1nyi.<\/p>

\u00a0<\/p>

The film Somewhere in Europe, which also brought the country and G\u00e9za Radv\u00e1nyi worldwide success. It is interesting in film history that Radv\u00e1nyi’s students P\u00e9ter Bacs\u00f3 and K\u00e1roly Makk assisted in the filming, and Radv\u00e1nyi said of the finished film: “People came from a horrible hell to a renaissance, which no one knew yet how it would turn out. People were still afraid. They were afraid of what they had experienced, they were afraid of what the future would bring, they were afraid of whether there would still be human life in the world. This fear was mixed with the feeling of liberation… Somewhere in Europe gave the feeling that was needed, it brought together the scattered world.” The film was shown in 29 countries, the United Nations took patronage over it, and it was awarded first prize at the Locarno Film Festival. Despite this, however, during the R\u00e1kosi era, the film was not screened in Hungary, and Radv\u00e1nyi left the country again in 1948. He also directed in the film industry in Munich from 1954. He worked with Lilli Palmer and Romy Schneider in his film, as well as with Belmondo in the movie An Angel on Earth.<\/p>

Finally, in 1979, he returned to Hungary with the support of his former students, but primarily Makk,d F\u00e9lix M\u00e1ri\u00e1ssy . to be able to work with Hungarian artists again and make the final work of his career, Circus Maximus, where S\u00e1ndor S\u00e1ra is the cinematographer.<\/p>

In Hungary, several directors filmed Radv\u00e1nyi’s work, a documentary film was shot about him and him while he was still alive, but his career and memory could not be fulfilled in his country. Film director Istv\u00e1n Szab\u00f3’s statement is true and, in many ways, symbolic: “Hungarian filmmakers owe a great debt to G\u00e9za Radv\u00e1nyi”.<\/p>

Finally, Radv\u00e1nyi’s thoughts will help me with how to close the memorable sentences and what lessons I should highlight from his life. Although he was physically on the road all his life, he only lived in Hungary for 6.5 years after his childhood, but at the end of his life he says “always I was at home on the way … and the Hungarian language was the real home for me … and of course, if you go to Odysseus and one day you feel where you are at home”<\/p>

G\u00e9za Radv\u00e1nyi died on November 26, 1986, aged 79, in Budapest.<\/p>

It is our duty and at the same time our national responsibility to cherish the memory of G\u00e9za Radv\u00e1nyi, the world-famous film director, in a dignified way here in Kassa and Budapest!
Thanks for listening!<\/p>

Tam\u00e1s Kollarik<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Geza von Radvanyi https:\/\/www.youtube.com\/watch?v=JZtij9BEBe4&t=52s Dear Ladies and Gentlemen! Dear Remembrancers! It is a moving honor and at the same time a great responsibility to give a speech in front of the memorial plaque of G\u00e9za Radv\u00e1nyi, the Kossuth Prize-winning Hungarian filmmaker. It is an honor and a responsibility, which also means a thoughtful task for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3161","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=\/wp\/v2\/pages\/3161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3161"}],"version-history":[{"count":10,"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=\/wp\/v2\/pages\/3161\/revisions"}],"predecessor-version":[{"id":3263,"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=\/wp\/v2\/pages\/3161\/revisions\/3263"}],"wp:attachment":[{"href":"https:\/\/www.22hiffla.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}