Set during the Russian Civil War of 1918, Hungarian
director Miklós Jancsó’s The Red and
the White is a war film unlike any other. With graceful uninterrupted
tracking shots that feel as if they’ve been lifted from a Tarkovsky film, the
movie lulls its viewers into a dreamlike state, despite the carnal strife that
they’re being made to watch. The vast expanses highlighted by Jancsó’s
black and white ‘Scope compositions dwarf the film’s cast to the extent that
they become mere dots in an empty landscape. Though the film’s title seems to
suggest profound differences between the two sides, from this distant
perspective they lose all personality and become totally interchangeable. As the
film progresses and the tide of battle shifts the upper hand back and forth
repeatedly, we find ourselves withdrawing from the notion that either side’s
possession of the upper hand matters to us. Jancsó has created here a war movie
that not only fails to turn us onto the violence presented (which is itself
bloodlessly stylized), but one that fails to give us anyone or any cause to root
for. As a result, the entire enterprise seems utterly futile, and the reasons
behind success or failure feel utterly arbitrary and random. Both sides are
presented as being equally damnable and pitiable for being there in the first
place. It’s the cowards that seem to glean the most sympathy, if only because
they want no part in the entire sick spectacle. Though this sort of ideology
might be a bit suspect and demeaning toward the politics behind the actual
Russian Civil War, the effect is potent.
Since the film seems to be so resolutely without a strong
point of view other than “all war is bad,” (though what other perspective
might a sane person take?) Jancsó’s formalist tendencies are practically The
Red and the White’s entire reason for being. What becomes so surprising,
then, is that they’re strong enough to make the film worthwhile. Complicated
action scenes unfold without any editorial commentary, and mass armies march
upon each other in real time without any change in the camera’s location.
Several shots are an amazing technical and artistic accomplishment. Jancsó
starts out by color coding the opposing armies via their uniforms (though since
the film is black and white they all look relatively similar anyhow), but as the
tolls of the war wears down on their physical appearance, they blend together
into an indistinguishable mess, and any notion that they are markedly different
evaporates. At the film’s end, the mass suffering and indignity has changed
absolutely nothing. The blank countryside that the soldiers fight on continues
to mock the vain efforts of the people that populate it, but they still continue
to press onward as if it had a point.