Sunshine, 1999. Istavàn Szabó.

Here is an essay from my Balkan cinema module from my Masters degree. Not to be mixed up with Danny Boyle Sunshine.

Starring Ralph Fiennes this is an excellent film taking the audience on a journey through brilliant story telling. Not to be mixed up with Danny Boyle's Sunshine.

A real bitter sweet.

Great film.



Sunshine, 1999. Istavàn Szabó.


Sunshine, with the use of Fabula spans three generations of the Jewish Sonnenschein family. Set in a Budapest society which is in constant flux. The spectator witnesses the demands that each regime places on Jewish identity and hence the individual’s need to assimilate; whether that is the monarchy of the Austro-Hungarian Empire or the two periods of totalitarianism- Fascism and Communism. Ralph Fiennes (Schindler's List 1993) plays grandfather, father and son of each respective social period. Each generational male, Isnàc, Adam and Ivàn struggles to adapt to the anxieties of each regime and so through their individual characterization the spectator witness their plight as they walk a tight line between heritage, patriotism and ideology. As Cunningham points out in his remarks on Hungarian cinema:

The crisis on national pride and identity after Trianon , however, exposed the structural and cultural weakness of the fractured and sometimes pseudo assimilatory process and ‘destroyed the historic pact between the ruling political class and the Hungarian Jew.

Sunshine feels a bit melodramatic and there is a sense that gaps are missing in its storytelling. But the intention of this discussion is to point out what strategies of cinema Szabó employs when addressing Sunshine’s themes. One narrative strategy is the use of reoccurrences in both Sjuzhet and Fabula. This technique draws attention to its self and in turn theme. Szabó uses Mise en Scène schemata that are full of visual interlocking codes which emphasis theme.

There are two visual motifs which are introduced early in the film. These patterns are highly representative and occur at significant moments within Sunshine’s text. Emmanuel Sonnenschein’s father dies in a distillery accident and as a consequence Emmanuel sets out to Budapest with his inheritance, a pocket watch and the family’s secret recipe. The recipe is a tonic known as ‘A Taste of Sunshine’. It goes without saying the tonic is an obvious and direct metaphor for the Sonnenschine family. The voice-over points out that Sunnenschine is German for Sunshine. What is important is how this narrative information is used within Sunshine’s context. The symbolism of the tonic conveys notions of the Jewish identity because of the link in names. Szabo uses this symbolism and manifests it throughout Sunshine’s chronological structure and this information is not only code for Jewish identity but by virtue of the film’s themes, a code for hidden Jewish identity. The recipe though not visually present for much of the film is referred to by name for a great deal of the film; Greta, Adam’s mistress, via hysterical dialog sees it as a means to escape. Emmanuel’s characterization is overtly Jewish and is the last of the Sunnenschine’s to know the recipe. His faith is his guide and ultimately he is free from assimilation which later generations are not. The tonic itself is the Fabula device that correlates to the Family fortunes. Fabula suggests it was the tonic that enabled the family to climb to the neo-middle classes of Hungary. In turn it also mirrors the family’s misfortune through History. It can be argued that during the Austro-Hungarian Empire before Isnàc, the agent of social assimilation, changes his name to ‘Sors’ the family is prosperous because of the tonic. The tonic becomes a metaphor of assimilated identity when it becomes apparent to the spectator that the recipe is missing as Isnàc story concludes. It then can be argued that there is a visual link between Emmanuel’s Jewish nature, the known recipe and the prosperity of the Sonnenschine family. Ivàn story, the fourth generation of Sonnenschine, is set within the period of Stalinism. Ivàn displays no overt Jewish traits. He is assimilated to the point where ideology takes total precedence over faith. The family is economically and socially ruined due to Communist policy. The reminding family share the last drop of tonic left. Still no one knows where the recipe is which indicated the assimilated Jew

Isnàc, Adam, and Ivàn Fabulas embodies notions of their ideology such as oppression. This tonic will almost arises at key moments of fundamental historical change which has a huge impact on their Jewish identity represented in the lost recipe. Contrast with Emmanuel relationship with the tonic. He knows where it is. This suggests an argument for the metaphoric use of the tonic, the use of the tonic as code for secret identity. Dragon points out in his musing on Istvàn Szabo:

It is quite conspicuous in the film that the ups and downs of the life of the Sunnenschins are always connected to the magic liqueur in some way. Thus when they are celebrating New Year’s Eve, the bliss comes with the tasting of Sunshine. Also when tragedy happens a bottle of Sunshine appears immediately

Sunshine conveys each generations desire to climb the social ladder and to be accepted by whatever ruling-class is in power. This tends to result in personal conflict. Isnàc desire to become a judge provokes him to freely assimilate. He warrants the change in surname. Isnàc cousin/wife Valerie and his brother Gusztàv also become Sors. Isnàc, on the right, believes in liberal tolerance that allows assimilation as opposed to Gustav who has strong left-wing views. Isnàc’s superiors believes there is Jewish / Socialist conspirers one of is which Gustav. This incites character conflict of their opposing ideologies, personifying the angst within the nation. As the State ideologically transforms as does the balance of power between the two characters representing the shifts of power in Hungary. When character ideological conflict begins to materialize between the two characters faith is mentioned as a curse. This may act as a reminder of their shared common identity however, as Isnàc story concludes faith plays no part; this can be inferred via the use of the framed picture of just the Emperor. Note the use of the stills. Isnàc has a photograph of both Emperor and Father in a prior scene. These photograph both take up priority at his desk and would suggest their symbolic meaning hold the same worth in Isnàc heart. The Nation first flirts with Communism and for the purpose of contextualization these developments in narrative signifiers the manifestation of assimilation; both men still squabble over left and right politics symbolically inferred by Mise en Scène. Isnàc only photograph, not of his father but of the Emperor.

The idea of Jewish conspirers is a theme which is ironically echoed in Ivàn story. In this respect Szabó makes the spectator very aware of visual motifs as he draws comparison between Monarchy and Communist Republic. These dogmas are polar opposites in theory but in practise their actions are identical. Szabó constructs two aesthetically different worlds. Language has devolved over time. During the Empire characters dialog is almost poetic but over time it morphs too a crude and affronting tone. Szabó comments:

My idea was in the beginning of the film that the language is like literature they use fine words, romantic lines, they know what literature is. The second story is more exact, not so rich and the third is vulgar even people in high positions use four letter words .

The café, which is highlighted in all three stories, morphs overtime from a refined establishment to a dilapidated café. It can be interpreted as apart of an aesthetically changing world. These observations maybe linked to Sunshine thematic text with regards to the use of narrative reoccurrence. Gustav is a doctor and a Communist; the healer of society. Characters careers can be incidentally represented as characterization of their ideological stance. Valerie is a photographer who, for all social woe, still sees beauty in life. Isnàc, Adam and Ivàn all have an association with the legal profession. This observation may infer as quest for balance (Faith and Ideology), think of Themis holding weighting scales. This method of reoccurrence brings thematic attention to the spectator and to the correlation of regimes. Times may change but ultimately policy will stay the same; as K’nore, (a father figure for Ivàn) remarks on these observations, Anti-Semitism. No new ideas, hence, the irony of repetition. Gustav was implicated as a Communist / Jewish conspirer during the Empire but as Fabula enfolds the Communists implicit Gustav in another plot. This highlights the failure of assimilation into a regime regardless of ones politics. Sunshine’s use of repetition can be best surmised in the two hunting party scenes of these two respective periods. Both Isnàc and Ivàn go hunting with the ruling-class and by proxy it can be inferred they are the same.

Isnàc concludes the failure of liberal tolerance; best deduced with the break out the Great War and with it the failure of assimilation. Adam’s and Ivàn, embody much the same problematic issues of proud Jewish patriotism and the trappings of self-adaptation. Both characters make grand speeches, narrative reoccurrences. These Speeches express a sense of patriotic loyalty to the State. But in turn both men fail total assimilation. Adam’s story, the period of the Hungarian Black Arrows , out the three is most disturbing. Szabó has captured the attitude of the Hungarian feeling toward the Jewish community:

Hence the seeming plausibility taken by the government that Hitler imposed on Hungary in March 1944, that the position that there was no feasible alternative to a partnership with Nazi Germany. And there is no denying that the masses implemented this logic with vigour: he workers henceforth worked harder, the soldiers fought hard and the general population applauded the extermination of the Jews .

Adam is never truly integrated. Converting to Catholicism does not divert attention form his Jewish roots. A mere caretaker can turn the lights out on national fencing champion. Sunshine visually puts the above quote into context. The Hungarian flag, at the 1936 Olympics, is raised when the teams wins gold. It looks small in comparison to the looming vivid red of an intimidating swastika that engulfs the Hungarian stripes. Adam’s story ends in harrowing fashion. Adam, the highly successful fencer, best represents the notion that the assimilated Jew was not a trusted part of society. This is a theme throughout Sunshine and what every generation endures. With every new regime is a fear of the successful and educated Jew. ‘In fact, it is probaley the case that assimilation only increased the sense of betrayal, the assimilated Jew being seen as more devious and treacherous than the non-assimilate’.

The characterization of Valerie is held to contrast to the symbolic representations of the three generations of the Fiennes characters and of Gustav. The family house is being cleared out in the final story. The only thing that reminds is a piano, a Mise en Scène symbol of Valerie. The spectator witnesses a child playing the films’ score on the piano. This score is played both as diegetic and non- diegetic throughout Sunshine. The spectator has also witnessed Valerie playing this piece along side Isnàc in the first story but also alongside Gustav in the third. This functions as visible character juxtaposition but also surmising the two repressed ideological males as similar and by deduction the similarities in the regime which they condone. Valerie is a photographer and wants to photograph what is beautiful in life. This theme of beauty is represents via schema codes which link to Valerie. Like the tonic the metaphor of Valerie is presence in all three stories; either as character or Mise en Scène. A photograph of Valerie surrounded by a courtyard in bloom is introduced early in the narrative. This is related to themes which Valerie personifies such as life, death, passion and nature. These thematic deductions personify the abstract Romantic notion of man which stands before God and his mighty creation:

Like the prophets of the Old Testament, the Romantic Dreamer possessed conviction that what he saw with his inner eye was reality and what he saw physical eyesight was mere semblance, a veil drawn from some inscrutable reason between him and eternity

The turn of the 20th century is marked by an open window as Valerie, a pregnant woman, needs air and snow rushes in. The next scene she is giving birth, heeding nature and life. Toward the end of her life she faints and again this is marked by a rush of snow through an open window, again, nature and death. Contextualization of Valerie is often held against the social pragmatic ideals embodied in the male characters within the films. In debate between the politically right, Isnàc, and the politically left Gustav the scene concludes with Valerie declaring that she wants to be a Wild Flower. This point surmises Valerie contextual function.

Her photograph becomes a powerful piece of Syuzhet, notably during Adam’s story arguably the darkest period. This story demands a counter weight such as the symbol of the beauty of life- Valerie. Ivàn finds Sonnenschein redemption and Isnàc keeps an idea of faith, whereas Adam commits himself totally to assimilation which can be inferred via his actions. He refers to Jewish people as disgusting. Blinded by his own patriotism he proclaims he fences for his country and not a regime. His patriotism is not to be confused with Fascist Nationalism. It is worth mentioning that this confused notion of being patriotic and assimilated while set against the pressures of social policy is evident in all three Fiennes incarnations. It is during the radio-broadcast of ‘Anti-Jewish laws of the 1930’s, the last of which in 1941 resembled the racist Nuremberg Law’. A powerful scene which conveys the futility of assimilation Szabó fuses history and Syuzhet. The photograph of Valerie is overtly used in this scene, more so in any other part of the film. There is nothing beautiful about this moment. On the contrary, Szabó camera, as it observes the assimilated family, is juxtaposed with the beauty symbolised in the photograph. It reminds the spectator of the stark contrast of events.

The composition of the photograph has Valerie sat in a courtyard in bloom. She is cradling her foot. Adam visits a museum in Berlin where an American warns him to leave the country before it is too late. Before this meeting he becomes fascinated with a statue not to dissimilar to the photograph of Valerie. It too cradles a foot. It is relatively fair to suggest a metaphor for Judaism. Gilman interpretation of Franz Kafka would propose:

Kafka’s feet increasingly prevent him from undertaking the strenuous physical activity that he needs to reform and transform his body, a hopeless task given the persistence of the Jew’s body. He writes, “The foot particular is enormously swollen- but is not very painful. It is well bandaged and will improve”. The physical foot may improve but Kafka’s symbolic foot will never. It represents the inability to be a man .

The idea of the weak assimilated male is amplified when but into context of this harrowing scene. The family believe there are exempt but events transpire in what can only be described as the most brutal example failed assimilation. Adam is murdered at the hands of Nazi genocide.

Significant observation to note, that both the photograph of Valerie and the statue are of the female form. ‘The display is then doubled (photo and sculpture), making the hidden mechanism more effective by producing uncanny spectacle with ambiguous meaning for the spectator’ . Even so, Couple these two interpretations of the characterization of Valerie (the opinion of passion) and the concept of Kafka’s Jewish foot thus provokes debate on the role of women and the illicit affair. The affair is another form of repetitive narrative strategy. Each affair takes on the same aesthetics shot in back rooms, low-light and heavy shadows. Each affair shares a common ancestral trait, Brother and Sister, Brother and Sister In-laws, Comrades in ideology. What can be assumed is that, bearing in mind the idea that the female personifies Romanticism, when the assimilated male commits to these affairs it is an attempted to embrace emotion and passion. ‘In a sense, incest should be seen here as here as a subversive force in the given context of its appearance, in the contextual order’
The Romanticized female is thus the antithesis of the ideological male. Ultimately, the assimilation male, whatever guise, is weak (Kafka’s foot) and unable to fully commit. Valerie and Gretta are raped (Gretta is raped by the state) when it becomes apparent that the male love is a fabrication and displaced on to their patriotism. Valerie wants a divorce provoked by Isnàc coldness and Adam is blind to events and will not leave Hungary. Isnàc proclaims he loves Valerie but rape is his final attempt to reclaim Valerie and the notions of Romanticism he has failed to embrace.

Ivàn affair does not follow this pattern. His affair begins in very much the same aesthetic manner and his mistress talks of love for him. However, for the purpose of narrative conclusion Ivàn must embrace his identity in effect find the coded notion of the lost recipe which he attempts. As it transpires the recipe is destroyed along with everything that accompanied the idea of hidden identity and assimilation, newspaper articles of the periods of totalitarianism. The only thing that reminds is a piano a symbol of Valerie. Ivàn finds redemption and becomes a Sonnenschein. In effect finds the true secret. Not the hidden code of the recipe, but, as Ivàn final voice-over states when referring to Valerie, ‘the gift of breathing freely’.

This paper has tried to examine the relationship between the political themes in which the film explores and the filmic methods in which it uses to do so. Ultimately this film is rich in meaning and is open to many interpretations.

Siôn Thomas Markham



A treaty put into place by the allies after Great War which establishes Hungary’s Boarders.
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Dragaon, Zoltàn, The Spectral Body Aspects of Istvàn Szabó. Cambridge Scholars Press. Cambridge, 2006.



Bibliography
Cunningham, John, Hungarian Cinema from Coffee House to Multiplex. Wallflower Press. London, 2004.

Dragaon, Zoltàn, The Spectral Body Aspects of Istvàn Szabó. Cambridge Scholars Press. Cambridge, 2006.

Gilman, Sander, Franz Kafka, The Jewish Patent. Routledge, NY. 1995.

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Iordanova, Dina, Cinema of the other Europe. Wallflower Press. London, 2003.

Mumfold Jones, Howard, Revolution and Romanticism. The Belknap Press of Harvard University. Massachcsetts, 1974.

Rothschild, Joseph + Wingfield, Nancy M. Return to Diversity, A Political History of East Central Europe since World War II. Oxford University press. Oxford + New York, 1989.


Wandycz, Pior S. The Price of Freedom, A Hisroy of East and Central Europe from the Middle Ages to the Presnt, 2n Edition. Routledge. NY. 1992.

www.indiewire.com/people/int