The Man of Gold

About the production

Filmed during the turbulent post-World War I period in Hungary, this was one of Korda's last Hungarian productions before his emigration. The film utilized actual Danube River locations for authentic river sequences. Production faced challenges due to the political instability and economic difficulties in Hungary following the collapse of the Austro-Hungarian Empire. The film was shot on location and at the Corvin Film Studio, which was one of Hungary's premier film facilities of the era.

Themes

Themes & topics

Historical background

Silent-era audiences encountered The Man of Gold around 1919, as studios refined cross-cutting and star-driven storytelling.

Why this film matters

The Man of Gold shows how silent filmmakers conveyed plot through gesture, title cards, and editing.

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.

What critics said

Press notices for The Man of Gold (1919) are sparse in digitized sources; interest today rests on preserved prints and comparison with related titles.

Did you know?

• This was Alexander Korda's final Hungarian film before emigrating to Vienna and eventually Hollywood
• The film is based on Mór Jókai's 1872 novel 'Az aranyember' (The Golden Man), one of Hungary's most beloved literary works
• Gyula Bartos, who played Michael Tímar, was one of Hungary's most prominent stage actors of the early 20th century
• The film was produced during the Hungarian Soviet Republic period, making it one of the few major productions from this politically turbulent time
• Multiple remakes of Jókai's novel have been made, including a 1936 Hungarian version and a 1962 adaptation
• The Danube River locations used in the film were the same areas described in Jókai's original novel
• represents early Hungarian cinema's attempt to adapt national literary classics
• The production company Corvin Film Factory was founded in 1916 and was Hungary's largest film studio of the period
• The film's themes of freedom versus civilization were particularly relevant during Hungary's post-war reconstruction period
• Oscar Beregi Sr., who appears in the cast, later emigrated to Hollywood and appeared in numerous American films

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.

Famous quotes

No surviving dialogue quotes available - silent film with lost intertitles

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 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.

Film connections

Influenced by

• Mór Jókai's novel 'Az aranyember' (1872)
• Hungarian literary tradition
• European romantic literature
• German Expressionist cinema
• Early Hungarian film aesthetics

This film influenced

• The Golden Man (1936 Hungarian remake)
• The Golden Man (1962 Hungarian adaptation)
• Later Hungarian literary adaptations
• European art cinema exploring nature versus civilization themes

Film restoration

The film is considered partially lost or severely damaged, as with many Hungarian films from this period. Only fragments or incomplete versions may survive in European film archives. The Hungarian National Film Archive may hold some materials, but a complete restored version is not known to exist. The political turmoil and economic difficulties of 1920s Hungary resulted in the loss of many films from this era. Some production stills and promotional materials may survive in film archives.

Where to watch

• No currently available commercial releases or streaming options due to the film's rarity and preservation status
• Potential viewing through film archives specializing in Hungarian cinema
• Possible inclusion in specialized silent film festivals or retrospectives
• Research institutions with Hungarian film collections may have access to surviving fragments