Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
The Turin Horse
1889. German philosopher Friedrich Nietzsche witnessed the whipping of a horse while traveling in Turin, Italy. He tossed his arms around the horse's neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did happen to the horse? This film, which is Tarr's last, follows up this question in a fictionalized story of what occurred. The man who whipped the horse is a rural farmer who makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master's commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale.
The wind blows.
We watch a moving world. We do not move ourselves.
We are Pygmalion in reverse. Our daily routine is the chisel, turning us to stone.
We wait. We ignore. We transform.
The wind blows.
It sucks our breath, it drowns our words.
Actions speak louder. Actions can match the wind.
Nature versus routine. An eternal battle to wear away our stone facade.
Both with the same goal, reward, curse. Stone or dust.
Winner signaled by brief panic, then stone or dust.
The wind blows.
I'd like to place a reservation on my rating for The Turin Horse for now. Béla Tarr is a director I've long been wanting to experience,…
Me: So Mr. Tarr, what exactly is your film The Turin Horse about?
Bela Tarr: Ze film is about ze futility and meaninglessness of life. Man is but animal, a beast of burden meant to be suffering, and zen die. Zayr is no God. Zayr is no after life. Happiness is nozthing.
Bela Tarr drops the mic and exits stage left leaving the audience perplexed and stunned. There is no letting up from an auteur with such a determined vision, looking at the drudgery of life's routine also proving to be a fitting curtain call to his career.
He imagines what happened to a beaten horse said to have influenced the depression that led to Nietzsche's death. The dense atmosphere of the film links itself to the weighty existential musings of the philosopher creating a far reaching parable. God Is Dead in this ferociously angry land where the sun never shines and the wind batters through the soul.
It is a beautiful film to look at offering no hiding place for the…
This is a film of the elements.
Between the constant wind, the need for water, the dirt and mud, and the light of small, flickering flames, this film is the sum total of reality. In the midst of all of these is the aether, the fifth element that controls movement and light. In this case, the aether is the camera, which moves fluidly about our sparse subjects and observes, yet also commands their fates in a metatextual way. The aether is Tarr's storytelling.
The wind is the uncontrollable power that sweeps away everything. It is the horse's refusal to work and the inevitability of the end. It is constant, grating, and brutal, and it drives those who attempt to move…
This is one of those cases where my rating is for the merits of the film and not my preferences. As beautiful as this film is, I could only recommend it to those who are particularly interested in seeing the daily routines and harshness of 19th Century country living, or to serious fans of Tarkovskiy, who are used to slow long shots where not much happens on the screen.
The Turin Horse.
It is gorgeous. Every shot is one of the most beautiful photographs you will ever see.
It sounds beautiful. The score and the harsh wind are almost indistinguishable, both playing the same melody.
The art direction is perfect. Every single dented pot, every crack in the wall, every…
More an experience than a film, Béla Tarr's The Turin Horse is one of the bleakest and most depressing pieces of art I have ever encountered. And at the same time it is one of the most beautiful things I have ever seen.
Tarr's film builds on a thought, a musing (taken from the film's synopsis): 1889. German philosopher Friedrich Nietzsche witnessed the whipping of a horse while traveling in Turin, Italy. He tossed his arms around the horse's neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did…
There's a scene mid-way through The Turin Horse where the daughter is once again performing her daily rituals, which includes going into the barn to check on the horse's well-being. There it stands, perfectly still, refusing to eat or drink, appearing to have completely given up on its own life and therefore the lives of its owners who need the horse's mobility for survival. It is as profoundly moving as it is disturbing. All I could think about was - what was running through it's mind? What did it know that we don't? What did Nietzsche see in it's eyes that day that eventually broke him? This film is a sea of despair that one could easily drown in. The only thing certain in Tarr's final film is - God is well and truly dead.
Looking for an alternative to sleeping pills? Well this is... zzzz zzzz zzzz
I would rather watch paint dry than watch this pretentious self indulgent drivel.
In 1869 Nietzsche witnessed a horse being whipped, an incident which allegedly led to his mental breakdown. No-one knows what became of the beast and this movie is the fictionalised tale filling in the gaps.
It's two and a half hours of a couple living on a remote farm desperately trying to get the horse to cart them into town, failing, going back into their bleak barn house and just about existing. The horse is old, knackered and can't be arsed. The couple are running out of supplies. That's pretty much the plot.
The Turin Horse is akin to submerging your eyeballs into slow setting cement for two and a half hours whilst listening to the clinically depressed argue over…
A beautifully shot exercise in endurance for which I was very unprepared. I can't blame anyone who loves or loathes The Turin Horse.
Seria perfecta si no fos soporifera. Contundent, trascendent, interessant tot i repetir els habits dels protagonistes , la fotografia una passada, els diferents angles utilitzats per filmar el mateix habit transmetent coses diferents... com he dit, impressionant, però cada 5 minuts em pesava el cap.
da non vedere mai dopo una giornata pesante durante le ore piccole.
Per cinefili ma non per tutti.
Bonus film for the March Around The World | 2015 Challenge
This is allegedly the last work of noted director Béla Tarr of Hungary. Filmed in stark B&W, it depicts an imagined story of what happened to the horse that German philosopher Friedrich Nietzsche supposedly saved from a whipping in Turin, Italy in January 1889.
The opening scene shows the old cabman Ohlsdorfer (János Derzsi) returning to his isolated home on the wind-swept steppes. He lives with his daughter (Erika Bók), who must help him dress and undress because his right arm is withered, possibly due to a stroke.
Over the course of six days, we watch how they live, surviving on boiled potatoes and brandy, fetching water…