Miklós Jancsó

 

Miklós Jancsó

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Miklós Jancsó was a Hungarian film director and screenwriter. Jancsó achieved international prominence from the mid-1960s onwards, with works including The Round Up, The Red and the White and Red Psalm. Jancsó's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. A frequent theme of his films is the abuse of power. His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancsó's explorations. Towards the end of the 1960s and especially into the 1970s, Jancsó's work became increasingly stylized and overtly symbolic

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Miklós Jancsó

Born 1921-09-27 (104 years ago) in Vác, Pest, Hungary. Dead 2014-01-31 (92 years).

Awards
Award Ceremony Year Awarded for
Cannes Best Director Award (Red Psalm) 1972 Még kér a nép
Magyar Filmkritikusok Díja a legjobb rendezésért. (Cantata) 1964 Oldás és kötés
Nominated for awards
Award Ceremony Year Nominated for
National Society of Film Critics Award for Best Director (The Red and the White) National Society of Film Critics Awards 1969 1969 Csillagosok, Katonák
Relationships
Name From To Relationship type
Zsuzsa Csákány(Gifta: 1981–2014-01-31) 1981 2014-01-31 Gifta
Giovanna Gagliardo(Sambo: 1968–1980) 1968 1980 Sambo
Márta Mészáros(Gifta: 1958–1968) 1958 1968 Gifta
Katalin Wowesznyi(Gifta: 1949-12-21–1958) 1949-12-21 1958 Gifta
Children

Katalin Jancsó, Nyika Jancsó, Dávid Jancsó, Zoltán Jancsó

Parents

Sandor Jancsó, Angela Poparad

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Miklós Jancsó

Bio provided by Wikipedia

Miklós Jancsó was a Hungarian film director and screenwriter.

Jancsó achieved international prominence from the mid-1960s onwards, with works including The Round Up, The Red and the White and Red Psalm.

Jancsó's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. A frequent theme of his films is the abuse of power. His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancsó's explorations. Towards the end of the 1960s and especially into the 1970s, Jancsó's work became increasingly stylized and overtly symbolic.

Content from Wikipedia provided under the terms of Creative Commons (CC BY-SA 3.0).

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