The book seller, the watchmaker. the carpenter, and the bar keeper meet as usual
-- the photographer (with his back to the camera) is invited to join them
The basic debate on conscience is raised during a meeting of four friends in a Budapest bar, set during the Nazi occupation of Hungary during World War II, though the film/novel replaces the swastika with an odd-looking cross on the uniforms of the Nazi-equivalent characters. But the mention of the Russians replacing the current military occupation of the Nazi-equivalent characters, give away the obvious intention of the writer/director. The question thrown up in The Fifth Seal is, if we were to die today, whether one would like to be reborn as a powerful, rich, cruel dictator/slave owner who does not believe he/she is doing anything unethical or as a slave who is poor and is continuously brutalized and humiliated by his/her master and yet is happy that he/she has not done any action that is wrong in spite of his/her powerless condition.
Keszei, the photographer, makes the crucial soliloquy quoting the relevant
passage of the Bible on the Fifth Seal
To appreciate The Fifth Seal sufficiently, it would help considerably if the viewer has some knowledge of the Holy Bible and of visual art, specifically the works of the Dutch artist Hieronymus Bosch (1450-1516). The reasons are simple. The title of the film refers to the following excerpt from the Holy Bible:
“When he opened the fifth seal, I saw under the altar the souls of those who had been slain because of the word of God and the testimony they had maintained.” Revelation 6:9.
Further, a character in the film/novel, Karoly Keszei, who is an artistic photographer and a wounded ex-soldier, refers to the above passage, specifically mentioning the Fifth Seal, in a crucial monolog in the film.
Similarly the artist Bosch has additional relevance in the film The Fifth Seal. The book seller, László Kiraly (László Márkus), who is referred to mockingly as the “intellectual”, in the film/novel states that he procured two prized portions of meat, shown in the film on selling a Bosch painting, or possibly, a book on Bosch’s paintings. Director Fabri intercuts important pieces of dialog with visuals of Bosch’s paintings. And interestingly much of Bosch’s famous paintings deal with the Book of Revelation in the Holy Bible, the perverted delights of a sinner, and martyrdom of various early Christians. (Bosch is increasingly being acknowledged today as the first surrealist painter, while surrealism as a movement is often considered to have begun only in the 1920s. Works of Dali and those of Bosch are so strikingly similar, that one wonders how four centuries could separate them.) And Fabri does not stop with the paintings—he recreates visuals from Bosch’s paintings with live human beings for the bookseller Kiraly to fantasize in a drunken stupor while reflecting on the philosophical issues raised in the film/novel earlier.
The crucial towards the end of the film that redefines all that the viewer has
been shown and believes
The film can be divided into three segments though these are seamless. The first is the situation in the bar where Miklós Auricular (Lajos Öze) a watchmaker, Kiraly the book seller, János Kovacs (Sándor Horváth) a carpenter, and Béla (Ferenc Bencze) a barkeeper meet and discuss a variety of subjects in the presence of Keszei, the artistic photographer, who joins these gentlemen for a drink by accident. The second segment takes the characters out of the bar, where each come to a decision as to who he would like be reborn as. The third segment puts all the characters in an extreme environment, where interestingly for different reasons, all the characters seemingly reverse their earlier decision made in the film to the question posed by Mr Auricular. One metaphoric aside made by Mr Auricular is whether you would choose to eat veal breast or an artichoke, if given an option. The third segment adds another aspect to the final decisions—the aspect of self respect.
Bosch’s surreal images and the surrealist manifesto of the 1920s would nudge the viewer at the grim end of the film. All through the film an intelligent viewer will note the characters in the film constantly reassess their points of view. Nothing is as per the obvious. Keszei, the photographer, lost his leg on the war front, like the slave in the philosophical conundrum and believes he has a conscience. Yet his actions prove to be the opposite. The viewer would also need to reassess the end of the film, in view of past and possible future intentions/actions of Mr Auricular.
Mr Auricular, the watchmaker, asks the carpenter the difficult
philosophical question
The final shots of the film underscore the fact that one is ultimately alone and the final decision of a reflective soul could surprise oneself. This movie is undoubtedly the best work of Zoltan Fabri, a marvelous filmmaker, who most cineastes the world over have yet to discover. This is a film with superb performances (especially Lajos Öze as Mr Auricular), the lovely music of Georgy Vukan that opens (with colourful details) and closes (in deliberate contrast with a dark, blank screen) the film, intelligent editing (Ferencné Szécsényi), and needless to add, a great script. The “intellectual” in the film would like to distract himself with music or play snooker, when someone has been shot dead outside. These are some of the little nuggets of detail that make this work truly outstanding. Thank you, Mr Zoltan Fabri and Mr Ferenc Sánta, for top-notch cinema.
P.S. The full movie is available on You Tube. The film is one of the author’s best 100 films. The author had interviewed Mr Zoltan Fabri in Budapest in 1982 as a staff film critic of a daily newspaper published from New Delhi, India.