KAA©t fAA©lidAA¶ a pokolban (eng subs) [1962] Zoltan FAA¡bri

http://bayimg.com/paOMcaACH Two Half-Times in Hell (1962) Két félidö a pokolban (original title) http://www.imdb.com/title/tt0056160/ Két félido a pokolban / Two Half Times in Hell (1961) The Hungarian movie Két félido a pokolban / Two Half Times in Hell by renowned director Zoltan Fabri is simply the finest football movie ever made, be it the themes it represents using the game or the manner in which the final match it done. For a movie made in 1961, nothing today can match up to the mastery with which the entire movie is brought together. Its own remake by John Huston in 1981 Escape to Victory couldnt touch it with a ten-foot pole. Imre Sinkovits ... Ónódi Dezsö Garas ... Steiner József Szendrõ ... Rápity õrmester István Velenczei ... Ferenczi Gyula Benkö ... Sztepan János Görbe ... Eberhardt Tibor Molnár ... Rácz János Makláry ... Holup õrmester Laboch Gerald Siegfried Brachfeld ... Heilig százados Antal Farkas ... Csorba tizedes Béla Barsi János Rajz ... Lipták László Márkus ... Pogány János Koltai ... Géza During World War II in German occupied Hungary, a labor camp made of Hungarian nationals is asked to form a football team & play against a German army team to commemorate Hitler’s birthday. The Hungarian team is led by former star footballer Onodi II (Sinkovits Imre) who’s affectionately nicknamed Dio. Dio regards the game as sacred & the only way he’d play the match is if he & his players are given proper equipment & extra rations which causes quite a lot of friction between the non-players & some other prisoners in the camp. The players are glad that they are getting the extra ration & do not have to work either till the match takes place. Some even would like to attempt an escape but Dio, suddenly reunited with Football, which he loves more than anything else in this world, would only want to play the game & win it. The story is supposedly based on the true story of the Ukrainian football club Dynamo Kyiv whose players defeated a German army team while the Nazis had occupied Ukariane in World War II and further rumors say that the team was shot dead after their victory. The climatic encounter between the two teams is a nail-biter assured to have you on the edge of your seat. The best part about the movie is that unlike most other football movies, the director chooses not to shoot the match like a live match but rather play around with different camera angles only possible in a movie; this also helps keep the camera steady while providing us with a more coherent view of the happenings on the field. In all the movies one has seen, rarely has one come across someone as naturally charismatic as Sinkovits Imre who plays Dio. In a scene towards the end while everyone lies on the ground to avoid detection by a group of Russian bombers flying overhead, the camp supervisor begs of him to miss a penalty so that the Germans do not get enraged and so does a teammate in hope that their lives would be spared but all Dio does is give a wicked one sided grin, looking straight ahead and you know he’s not going to listen to anyone or even to reason. The movie maintains a downbeat and somber tone that begs to be lifted by a successful match where you want to see the Hungarians pulverize the Germans and when Dio does start scoring you will surely be cheering. The movie is a natural crowd-pleaser that will stay with you long after you are done watching it. Zoltán Fábri was born in 1917 in the First World War in Budapest. He represents the first set of the generation between two world wars when he grew up and studied. He studied at the Academy of Fine Arts in Budapest during the second half of the thirties. Then he worked as a theatre director-designer at the Academy of Fine Arts and the Academy of Dramatic and Film Art. He spent most of the WWII years as prisononer of war. He became involved with cinema in 1950. In all of his works, he was inspired Hungarian literature. He was the one who brought the cinema of Hungary under Soviet Communism into the international arena. He used a realist language and dealt with the historical problems of the country.

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