The Man From London Page #2

Synopsis: One night Maloin, a switchman at a seaside railway station situated by a ferry harbor, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his control room on top of a high iron traverse from where he can see the whole bay. Suddenly he notices that the first of the disembarking passengers, a tall thin figure (a certain Brown as it will turn out later) leaves the harbor, but not on the usual route: after getting through customs, he goes around the dock and then withdraws into a dark corner, waiting. Opposite him, in front of the ship, another man soon appears and throws a suitcase towards the man on the shore. He goes and picks it up, then waits in an dark corner for the other man to join him. When he arrives, however, they begin to quarrel and finally, in the course of the vehement fight, due to a hit that turns out to be fatal, the shorter one falls in the water and sinks, clutching the suitcase in his hand. Maloin is watching the scene, astonis
Genre: Crime, Drama, Mystery
Production: IFC Films
  3 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
69%
Year:
2007
139 min
279 Views


Are you drunk?

Leave me in peace!

You take all our money and

spend it on that sh*t!

- Leave me in peace!

- I have!

For 25 years...

Just look around you!

Leave me in peace!

Are you mad?

We'll take it back tomorrow.

- Come here!

- Yes?

- Take it down!

- This?

- Throw it over!

- There?

- Good evening.

- Good evening.

I'm Police Inspector Morrison.

I need some information from you.

From me?

Yes!

You.

Do you always work nights?

Always.

Tell me,

are these windows always closed?

In the winter, yes.

How can you keep an eye on

the wagons and the dock?

Just like you. I wipe them.

Last night...

didn't you notice anything unusual?

What would you call unusual?

Something like this.

Pull!

- Evening.

- Evening.

Evening.

Now then!

Take it away!

Lift!

One, two, now!

There's someone in the hut!

- What?

- There's a man in the hut.

- What does he look like?

- I don't know, I only saw his eyes.

- Did he say anything?

- He didn't say a word.

I was scared so I locked

the door and ran home!

What?

You locked him in the hut?

Sorry, Papa!

Now listen here!

Not a word about this to anyone.

Do you understand?

Not a peep!

I'll take a look.

The key!

- What do you want to do, Papa?

- Nothing.

You're not going to hurt him,

are you?

Take care, Papa!

Don't worry about me!

Brown?

Brown!

Arrest me!

I killed the Englishman.

When?

An hour ago.

Where?

I'll take you there.

Let's go!

Sir!

Take this up to my room!

Look after it!

Try to keep her here!

Don't let her in!

I only... brought him food.

I understand your state of shock.

You should know...

...that I have investigated

a good number of cases.

Yours is a case of self-defence.

Please accept Mitchell's gift.

Do take it...

...you deserve it...

Go home...

and forget the whole thing.

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Béla Tarr

Béla Tarr (born 21 July 1955) is a Hungarian film director. His body of work consists mainly of art films with philosophical themes and long takes. Debuting with the film Family Nest (1979), Tarr began his directorial career with a brief period of what he refers to as "social cinema", aimed at telling mundane stories about ordinary people, often in the style of cinema vérité. Over the next decade, the cinematic style and thematic elements of his films changed. Tarr has been interpreted as having a pessimistic view of humanity; the characters in his works are often cynical, and have tumultuous relationships with one another in ways critics have found to be darkly comic. Almanac of Fall (1984), his only color film, follows the inhabitants of a run-down apartment as they struggle to live together while sharing their hostilities. The drama Damnation (1988) was lauded for its languid and controlled camera movement, which Tarr would become known for internationally. Satan's Tango (1994) and Werckmeister Harmonies (2000) continued his bleak and desolate representations of reality, while incorporating apocalyptic overtones; the former sometimes appears in scholarly polls of the greatest films ever made, and the latter received wide acclaim from critics. Tarr would later compete in the 2007 Cannes Film Festival with his film The Man from London, which opened to moderately positive reviews. Frequent collaborators with Tarr include novelist László Krasznahorkai, film composer Mihály Víg, cinematographer Fred Kelemen, actress Erika Bók, and Tarr's wife Ágnes Hranitzky, who is sometimes credited as a co-director of his last three works. After the release of his film The Turin Horse (2011), which made many year-end "best-of" critics' lists, Tarr announced his definitive retirement from feature-length film direction. In February 2013 he started a film school in Sarajevo, known as film.factory, leaving in 2016. He is slated to premiere two short films in a 2017 Amsterdam exhibition. more…

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Submitted on August 05, 2018

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