The Man of Gold

Plot

Captain Michael Tímar of the St. Barbara vessel becomes guardian to Kondya, daughter of a Turkish aristocrat fleeing persecution. He later rescues and marries a young Turkish woman from drowning in the Danube, entering into a marriage of convenience while managing her fortune. As Tímar becomes a successful wheat wholesaler exporting to Brazil, he finds himself increasingly dissatisfied with bourgeois civilization and its materialistic values. Torn between his wealthy lifestyle and his yearning for natural freedom, he ultimately abandons his marriage to live a simple life with the sweet Noemi on an isolated Danube island, choosing authenticity over societal expectations.

Historical Background

The film was produced in 1919, one of the most tumultuous years in Hungarian history. Following World War I, Hungary experienced the collapse of the Austro-Hungarian Empire, the brief Hungarian Soviet Republic (March-August 1919), and subsequent counter-revolutionary period. Despite this chaos, Hungarian cinema was experiencing a golden age, with Budapest becoming one of Europe's significant film production centers. The film's themes of freedom versus civilization, individual versus society, and the search for authentic living resonated deeply with audiences experiencing rapid political and social change. This period also saw the emergence of Hungarian directors like Korda who would later significantly influence international cinema. The adaptation of Jókai's work represented an attempt to define Hungarian cultural identity during a period of national crisis.

Making Of

Alexander Korda, already an established director in Hungary, brought his sophisticated visual style to this adaptation of Jókai's classic novel. The production utilized the relatively advanced facilities of the Corvin Film Factory, which boasted some of Europe's best technical equipment of the era. Korda employed innovative location shooting techniques along the Danube, creating authentic river sequences that were technically challenging for the period. The casting reflected Korda's preference for stage actors with classical training, particularly Gyula Bartos from the Hungarian National Theatre. The film was made during extreme political instability in Hungary, with the brief Soviet Republic followed by the White Terror, yet Korda managed to complete this ambitious production. The production design emphasized the contrast between the sophisticated urban settings and the natural Danube island environments, reinforcing the film's central themes.

Visual Style

The cinematography, likely handled by István Eiben (a frequent Korda collaborator), employed innovative techniques for the period. The film featured extensive location photography along the Danube River, creating authentic and atmospheric sequences that contrasted with studio interiors. The visual style emphasized the romantic qualities of the Hungarian landscape while maintaining the dramatic tension of the narrative. The river sequences utilized early tracking shots and camera movement to create dynamic action scenes. The cinematography successfully captured the contrast between the sophisticated urban environments and the natural beauty of the Danube island, reinforcing the film's central themes. The visual approach reflected the influence of German Expressionism while maintaining a distinctly Hungarian aesthetic sensibility.

Innovations

The film demonstrated several technical innovations for Hungarian cinema of 1919. The extensive location shooting along the Danube River was particularly ambitious, requiring specialized equipment and planning for water sequences. The production employed early camera movement techniques to create dynamic river scenes that were technically challenging for the period. The film's editing techniques, particularly in the transition between urban and natural settings, showed sophisticated understanding of cinematic storytelling. The production design successfully created believable environments for both the sophisticated urban scenes and the rustic island sequences. The film's scale and ambition reflected the growing technical capabilities of Hungarian film studios during this period.

Music

As a silent film, 'The Man of Gold' would have been accompanied by live musical performance during theatrical screenings. The original score likely incorporated Hungarian folk melodies and classical pieces appropriate to the film's dramatic and romantic elements. Orchestral accompaniment would have emphasized the film's emotional peaks, particularly during the river rescue sequences and the romantic moments on the Danube island. The music would have reflected the film's contrast between civilization and nature, using different musical motifs for each setting. Unfortunately, no specific information about the original musical arrangements or composers has survived from this period.

Memorable Scenes

• The dramatic rescue sequence where Michael Tímar saves the Turkish woman from the Danube waters, showcasing early action cinematography and establishing the film's central romantic conflict
• The contrasting scenes between Tímar's sophisticated urban business environment and his eventual simple life on the Danube island
• The final sequences on the isolated Danube island where Tímar finds peace and authenticity with Noemi

What Critics Said

Contemporary Hungarian critics praised the film's ambitious scope and faithful adaptation of Jókai's novel. Reviews specifically highlighted the atmospheric Danube sequences and the strong performances, particularly Gyula Bartos's portrayal of Michael Tímar. The film was noted for its technical sophistication, especially in location photography, which was still relatively rare in 1919. Modern film historians consider this work among Korda's most significant Hungarian productions, representing the peak of his early career before his international success. Critics have noted how the film's themes of alienation from modern society anticipate later existential concerns in European cinema. The adaptation is generally regarded as one of the most successful early attempts to capture the epic scope of Jókai's literary vision on screen.

What Audiences Thought

The film was well-received by Hungarian audiences in 1919, particularly those familiar with Jókai's beloved novel. The story's themes of freedom, nature versus civilization, and individual authenticity resonated with viewers experiencing the rapid changes and uncertainties of post-war Hungary. The Danube locations and river sequences were especially popular, as they depicted familiar landscapes in a romantic and adventurous context. The film's success contributed to the growing popularity of literary adaptations in Hungarian cinema. However, due to the political instability of 1919 and subsequent economic difficulties, the film's commercial success was limited compared to pre-war productions. Despite these challenges, it remained a memorable work for contemporary audiences and contributed to the lasting popularity of Jókai's story.

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