CHINA Edition
Hungarian Edition
March 15th marks the most defining day of Hungary. On this day, back in 1848, the “Youth of March”, including iconic figures of Hungarian history and literature, like Sándor Petőfi, Mór Jókai, Pál Vasvári, József Irinyi and others, ignited a revolution that is now considered to be the cornerstone of Hungarian national identity. On this day, in 2024, Now or Never! completely destroyed every bit of respect this nation had towards Hungarian filmmaking.
6 billion Hungarian Forints. That’s what it cost to make this film. The second most expensive Hungarian film, Bet on Revenge was made with about half of this budget, and it was a decent film. Gábor Reisz’s Explanation for Everything, which won at Cannes in 2023, was made from less than 1% of Now or Never!’s budget, yet it was an exceptional film.
I don’t care about these numbers. I don’t care that this is taxpayers’ money. I care about if Hungary makes movies that say: yes, we were there when Hollywood became what it is today. We are the country, from where masters of cinema, like Béla Tarr and Miklós Jancsó came from. We are the professionals, who aid in the creation of films like Dune, Poor Things, and many more. By its very existence, Now or Never!, though likely to be quickly forgotten, is a betrayal of what Hungarian filmmaking was and is today.
Although the film traces the events of the first day of the revolution as chronicled in history books, it introduces certain fictional elements, to shift its tone towards something more action-packed. This approach was intentional, as the creators have highlighted; they aimed not to produce a conventional historical film but rather an adventure flick that captures the day’s events in a cathartic manner.
The issue, however, lies in the portrayal of historical figures and fictional adversaries, who come across as unreal, both in their mannerisms and actions. The countless unbelievable fight scenes serve as constant reminders that we are watching a work of fiction designed primarily for entertainment. Similarly, the grand sets constructed for the film do little to enhance the narrative, feeling as artificial as the characters themselves.
This film is a mistake. Not merely because of its distasteful attempt to transform this important historical event into something akin to Pirates of the Caribbean. Not because its mediocre performances, repetitive dramaturgy, fictional bad guys and storylines, forced grandiosity, or unsuitable soundtrack.
It’s a mistake because it fails to tell the story and importance of March 15th. Instead, it reveals what happens, when the wrong people are given billions to make an impactful historical film. It tells the story of greed and false pride. But all that happens off-screen.
I’m sorry for some of the actually talented filmmakers, who took part in the creation of Now or Never!. I’m sorry for those students, who have to see this in the theatres – yes, it’s mandatory in some places. I’m sorry for everyone, like me, who expected at least something remotely decent from such a big production.
And if you are reading this (yes, I’m talking about you): I’m sorry for you, too!
