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A Londoni férfi
A Londoni férfi
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A Londoni férfi

A Londoni férfi

2007
Drama
2h 19m
As pic begins, a boat from London is just discharging its passengers at night on to the waiting train, and from his eyrie above the harbour Maloin sees a small case thrown from the boat to a man waiting on the other side of the harbor. Soon, the man who retrieves the case is in a struggle with another, and the former drowns in the harbor, taking the case with him. Characters are seen only in long shot, from Maloin's vantage point, as they enter and exit pools of light thrown on the stone quay (Variety)

Directed by:

Béla Tarr, Ágnes Hranitzky

Screenwriter:

Béla Tarr, Georges Simenon

Starring:

Tilda Swinton, János Derzsi, Éva Almássy Albert, Miroslav Krobot, Ági Szirtes, Erika Bók, Gyula Pauer, Kati Lázár, István Lénárt, László feLugossy, Philippe Guerrini, Alfréd Járai

Genre:

Drama

AKA:

The Man From London

Countries:

France, Germany, Hungary

Languages:

English, French, Hungarian
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A Londoni férfi

2007
Drama
2h 19m
Your probable score
Ratings & Reviews Cast Collections Similar Stats Trailer
Avg Percentile 59.21% from 278 total ratings
Ratings & Reviews Cast Collections Similar Stats Trailer

Ratings & Reviews

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martintellerMartinTeller
Rated 12 Apr 2009
86
87th
Okay, it doesn't have the epic grandiosity of Satantango or the tantalizing strangeness of Werckmeister, but it's at least as good as Damnation, if not better. The locations seem to be straight out of Dostoyevsky, the score is as haunting as always, and the black & white cinematography is as incredibly stunning. Tarr is an expert at creating this atmosphere of sorrow and dread and uneasiness, a world where everything feels slightly off-kilter, even in the most mundane moments.
Rated 12 Apr 2009
bownBown
Rated 24 Nov 2009
78
46th
Sometimes, it feels like it fails in every way Werckmeister succeeds; there are definitely times where it's extremely impersonal. The description of an "anti-thriller" is incredibly apt. However, Tarr's amazing cinematography and the haunting score won me over, even if I'm still not sure what happened. One more thing, though: how difficult is it to make a decent dub? I mean christ, even THE ROOM had better dubbing. Sometimes the mouth movements don't fit at all. It took me out of the film a lot.
Rated 24 Nov 2009
kasperlKasperL
Rated 15 Oct 2020
40
19th
Even harder to rate than Tarr's other equally idiosyncratic works. As accomplished as the noirish cinematography is, there's something bafflingly clumsy about everything else (even disregarding the at times beyond atrocious dubbing).
Rated 15 Oct 2020
gnalkhereGnalkhere
Rated 26 Oct 2012
45
8th
What the bitch was with the dubbing? And when will Mihaly Vig's music pieces be released to the public? The beautiful shots got to me. Now to find the original Hungarian version.
Rated 26 Oct 2012
anomalyAnomaly
Rated 27 Dec 2011
84
83rd
Tarr takes a step back and tackles something smaller than his previous efforts. His distinctive style is less suited for such a small, personal issue like guilt and so it lacks a certain hypnotic strength, but it has its moments and there is still much to be found in the small details. The cinematography is as amazing as ever.
Rated 27 Dec 2011
venicevenice
Rated 04 May 2011
84
83rd
I had goosebumps while watching. The cold, foggy atmosphere is significant, it just fits well. The story reminds me of Kafka.
Rated 04 May 2011
ebelcEbelC
Rated 04 Apr 2011
30
13th
I think the travellings are great, and it shows good techniques, but... directed to what? I don't think that brilliant knowledge of the technique has any intention, not narrative, not emotional, ... nothing. And those long shots to a face that doesn't show any change and looks just like a photo, or a character doing a meaningless and repetitive act (example, the daughter eating). The technique is good, the idea is good, but the mix of both, the development of the idea, doesn't work for me.
Rated 04 Apr 2011
selcukburcakselcukburcak
Rated 07 Dec 2020
84
89th
Bela Tarr dışında hiç kimse bu filmi bu kadar görkemli hale getiremezdi. çok büyüksün.
Rated 07 Dec 2020
daxvDaxV
Rated 25 Apr 2020
70
46th
This one really zipped by for me, I didn't feel like it really got into a second gear though. All the visuals were excellent and I was involved with it in that respect but when it came to what was happening and how things played out I feel like a good deal of it went over flat. It felt like something was missing from this in a big way. Still not bad by any means and there's a lot to like. Though I feel as if those same elements have been utilized more effectively in Tarr's other works.
Rated 25 Apr 2020
larmorlarmor
Rated 10 Jan 2020
81
83rd
A very elegant movie that unfortunately lacks the grace of Tarr's other movies. The research on the formal aesthetics is awesome (these cameraworks , and the ominous music are to die for) but it makes it look like what I would expect from the early/student works of such a director. I was also somewhat put off by the dubbing, that, both in french an english sounded off at times. Still very good overall.
Rated 10 Jan 2020
umutheatreumutheatre
Rated 31 Jan 2019
87
86th
L'homme De Londres ile beraber Bela Tarr'ın en başından beri yapmaya çalıştığı her şeyin adalet kavramı üzerine olduğunu düşünmeye başladım. Geçmişte ve hala bile adaleti kendi aramızda belirleyip insanlara hüküm giydiriyor ya da serbest bırakıyoruz. Fakat özellikle Bela Tarr sinemasında ve bu tarz filmlerde Tanrı da biziz, hakim de! İnsan eylemini yapar, sahile doğru yürür, suçunu itiraf eder bu sırada biz ise onu izler ve yargılarız.
Rated 31 Jan 2019
detoxDetox
Rated 16 Jan 2019
86
85th
It's been a while since my last Tarr but this one remembered me of why I love his work. Long, atmospheric and never boring. The people here seem to be trapped in life. They can make decisions or force their will unto others but power is an illusion eventually. Money doesn't bring happiness and probably even death wouldn't be an escape. Oh and the music by Mihály Víg is gorgeous as usually.
Rated 16 Jan 2019
ottott
Rated 06 Jul 2018
85
87th
If thriller is an escapist venture, an anti-thriller like this works as a commentary on escapism
Rated 06 Jul 2018
vinegarbobVinegarBob
Rated 26 Sep 2015
80
80th
The camerawork though. The camerawork!
Rated 26 Sep 2015
jakeaestheteJakeAesthete
Rated 17 Jul 2015
36
32nd
Bleak and ponderous as only a Bela Tarr film can be (replete with plodding, robotic performances that verge on the laughably self-parodic), nonetheless i actually found this to be one of his more relatively accessible (i.e. watchable) works, largely due to the uncharacteristically, if oddly, straight-forward noir plot, thus relieving us of some of his usual overbearing metaphorical pretensions and blissfully free of long-winded pseudo-philosophical dialogues. Still, that dubbing though, right?
Rated 17 Jul 2015
staryarabbistaryarabbi
Rated 04 Nov 2014
75
68th
again a great stylistic achievment and such an impressive atmosphere but tarr couldn't get rid of the cheesy story of simenon which offers no contribution to the movie
Rated 04 Nov 2014
yiannosYiannos
Rated 20 Jul 2014
73
78th
(Viewed on 24/12/12):The dubbing is actrocious, and there is an uneasy relationship between the simplistic plotting and Tarr's elongated style, but it looks amazing, and there are several stellar moments; Tarr's fixation on faces is tremendous here, and his use of windows and limited P.O.V shots ramp up the claustrophobic tension. As an attempt to merge a noirish genre film with the long take art film though, it's decidedly less successful than fellow countryman Fehrer's 'Twilight'.
Rated 20 Jul 2014
icarusIcarus
Rated 20 Feb 2013
89
87th
Crisp, slow-developing images populate Tarr's foray into genre filmmaking. The camera often views the action through windows, heightening the sense of the intimate relationship between exterior and interior--what happens outside has an immeasurable impact within. The film is certainly the most narrative-friendly of Tarr's later work, though Tarr's images play so strongly against typical genre conventions that the film, in the end, carries a sense of strangeness rather than familiarity.
Rated 20 Feb 2013
caimancaiman
Rated 08 Feb 2013
87
85th
A stunningly beautiful film. Visually, this is as good as anything Tarr has done. The gorgeous black and white, accented with touches of shadow and light, lends itself flawlessly to Tarr's noirish vision. The camera trudges, glides, shifts, and reveals. You never know what you're about to see next. With all that said, the film lacks the grand, profound spirit of Tarr's other work. But even his less great work is still pretty damn great.
Rated 08 Feb 2013
cinesexualcinesexual
Rated 20 Jan 2013
90
90th
A noir crime-mystery tale stripped of plot mechanics and leaving only long-takes of long shots and portraits depicting magesterial human loneliness.
Rated 20 Jan 2013
snallygastersnallygaster
Rated 02 Oct 2012
69
77th
At first the surprisingly straightforward plot seems to work against Tarr's strengths, but eventually some familiar Tarr themes come to the surface. As always, volumes could be written about the cinematography alone, and the soundtrack is astonishingly effective. Tarr's movies are generally dubbed (due to the scarcity of Hungarian speakers), but the dubbing in this one is a bit more distracting than usual -- That may be simply because I happen to understand the dubbed languages in this case.
Rated 02 Oct 2012
joojooJooJoo
Rated 20 Sep 2012
5
81st
Color me unsurprised that the shortest (and probably the simplest) Tarr is my fav.
Rated 20 Sep 2012
kafka1325kafka1325
Rated 24 May 2011
60
53rd
Film breathes with noir atmosphere and there is a lot of great shots, slow action this time put down whole positive impression.
Rated 24 May 2011
bowfingerbowfinger
Rated 04 May 2011
55
47th
great photograph(s)(y)
Rated 04 May 2011
alex_watkinsAlex Watkins
Rated 21 Jan 2011
3
38th
Much as I adore Tarr's work - and The Man from London is, in many ways, every bit as atmospheric, foreboding, and beautiful as I've come to expect from him - I had a much harder time becoming invested in his world and characters here as compared to his other films. It was, frankly, a bit of a slog - and I sat through Satantango's 7.5 hours with nary a complaint. Haunting at times, but boring at others - this certainly won't win over any of Bela's detractors.
Rated 21 Jan 2011
slantmagSlantMag
Rated 13 Dec 2010
25
61st
"Tarr seems to be working in a pan-European purgatory through which his elaborate camera movements are more clinical than communitarian." - Kevin B. Lee
Rated 13 Dec 2010
adrianavbadrianavb
Rated 21 Nov 2010
65
61st
It would've been an awsome shortfilm. I had to torture myself so I didn't fall asleep.
Rated 21 Nov 2010
cclzaCCLZA
Rated 14 Nov 2010
75
64th
The aesthetic pleasures of watching this film more than make up for the very boring experience most of the time.
Rated 14 Nov 2010
neonmanNeonman
Rated 23 Sep 2010
72
44th
The pacing is stuck in the mud once again with Bela Tarr. With his films, their glacier-like speed usually benefits the mood and story, but here it stretches some scenes to breaking (boredom) point. The musical score by Mihaly Vig is, as always from him, superbly haunting and dreamlike, but re-used too much (a big pet peeve for me).
Rated 23 Sep 2010
coheedCoheed
Rated 23 Dec 2009
90
90th
Its inferior within Tarr's post-Damnation work, even to Damnation, but its still a momentous work compare to many other films. At this point in his and his co-director's career, as I wait for The Turin Horse to get a UK release, the use of everything from the lighting to the camera movements is at its best, matched by reoccurring themes of morality which are extremely powerful by the final scene. Even the dubbing adds to the almost alien world of a Tarr film which yet feels close to reality.
Rated 23 Dec 2009

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