Cinematographer Elemér Ragályi, one of the greatest talents of modern Hungarian cinema, died last Thursday.
Ragályi was born in 1939 in Hungary, where he graduated at the Academy of Theater and Film with a degree in cinematography.
As a cinematographer, he worked with directors such as István Gaál, István Szabó Gyula Gazdag, Judit Elek, Pál Sándor and Ferenc András, innovating in order to give a distinctive look to iconic films.
In 1970, Gaál’s “The Falcons” won the Jury Prize of the Cannes Film Festival, in large part thanks to the camerawork of Ragályi.
Elemér Ragályi (Courtesy of Nfi/Magda B. Muller)
In 1990, he received the television prize, the CableACE Award, of the American Society of Cinematographers for the HBO production “The Josephine Baker Story,” starring Lynn Whitfield. He was also nominated for Ace awards for his work on “Max and Helen” and “Red King, White King,” starring Tom Skerritt and Helen Mirren.
Ragályi was born in 1939 in Hungary, where he graduated at the Academy of Theater and Film with a degree in cinematography.
As a cinematographer, he worked with directors such as István Gaál, István Szabó Gyula Gazdag, Judit Elek, Pál Sándor and Ferenc András, innovating in order to give a distinctive look to iconic films.
In 1970, Gaál’s “The Falcons” won the Jury Prize of the Cannes Film Festival, in large part thanks to the camerawork of Ragályi.
Elemér Ragályi (Courtesy of Nfi/Magda B. Muller)
In 1990, he received the television prize, the CableACE Award, of the American Society of Cinematographers for the HBO production “The Josephine Baker Story,” starring Lynn Whitfield. He was also nominated for Ace awards for his work on “Max and Helen” and “Red King, White King,” starring Tom Skerritt and Helen Mirren.
- 4/6/2023
- by Leo Barraclough
- Variety Film + TV
Ragalyi worked with filmmakers including Istvan Gaal, Istvan Szabo.
Elemer Ragalyi, the Hungarian cinematographer who worked with directors including Istvan Gaal and Istvan Szabo, died last week on March 30, at the age of 83.
Described by Hungary’s National Film Institute as ‘one of the greatest talents of modern Hungarian cinema’, Ragalyi shot films including Gaal’s Falcons, which won the jury prize at Cannes Film Festival in 1970.
Journey Of Hope, the Swiss feature he shot for director Xavier Koller, won the best foreign language film (now best international feature) Oscar in 1991; while Ragalyi received the Emmy for outstanding cinematography for...
Elemer Ragalyi, the Hungarian cinematographer who worked with directors including Istvan Gaal and Istvan Szabo, died last week on March 30, at the age of 83.
Described by Hungary’s National Film Institute as ‘one of the greatest talents of modern Hungarian cinema’, Ragalyi shot films including Gaal’s Falcons, which won the jury prize at Cannes Film Festival in 1970.
Journey Of Hope, the Swiss feature he shot for director Xavier Koller, won the best foreign language film (now best international feature) Oscar in 1991; while Ragalyi received the Emmy for outstanding cinematography for...
- 4/6/2023
- by Ben Dalton
- ScreenDaily
The lineup has been unveiled for year’s edition of the Venice International Film Festival, taking place August 28 through September 7. Aside from films previously announced as coming to Tiff, some major new announcements include Olivier Assayas’ Wasp Network, James Gray’s Ad Astra, Roy Andersson’s About Endlessness, Ciro Guerra’s Waiting for the Barbarians, David Michôd’s The King, Benedict Andrews’ Kristen Stewart-led biopic Seberg, and Roman Polanski’s J’accuse. Only two films by female directors made into the competition lineup: Haifaa Al-Mansour’s The Perfect Candidate and Shannon Murphy’s Babyteeth.
Check out the lineup below (hat tip to Mubi), which also includes other sections at the festival.
Competition
The Truth (Hirokazu Kore-eda)
The Perfect Candidate (Haifaa Al-Mansour)
About Endlessness (Roy Andersson)
Wasp Network (Olivier Assayas)
Marriage Story (Noah Baumbach)
Guest of Honour (Atom Egoyan)
Ad Astra (James Gray)
A Herdade (Tiago Guedes)
Gloria Mundi (Robert Guédiguian...
Check out the lineup below (hat tip to Mubi), which also includes other sections at the festival.
Competition
The Truth (Hirokazu Kore-eda)
The Perfect Candidate (Haifaa Al-Mansour)
About Endlessness (Roy Andersson)
Wasp Network (Olivier Assayas)
Marriage Story (Noah Baumbach)
Guest of Honour (Atom Egoyan)
Ad Astra (James Gray)
A Herdade (Tiago Guedes)
Gloria Mundi (Robert Guédiguian...
- 7/25/2019
- by Jordan Raup
- The Film Stage
Award-winning Hungarian director whose best films demonstrate how state oppression damages love and fidelity but cannot kill the human spirit
The glory days of the Hungarian cinema from the mid-1960s to the mid-70s came about mainly because of the relative liberalisation of the communist regime under the Soviet loyalist János Kádár. Károly Makk, who has died aged 91, was among leading Hungarian directors such as Miklós Jancsó, Márta Mészáros, István Szabó, Zoltán Fábri and István Gaál whose films were beginning to be shown and acclaimed more and more in the west.
Because of problems with censorship under the previous, Stalinist puppet regime, Makk, who had been making films since 1955, had to wait until 1971 to gain international recognition with his simply titled masterpiece, Love. “I asked every year for six years for permission to make it. The political elite finally gave in because it was part of a rejection of the Stalin years.
The glory days of the Hungarian cinema from the mid-1960s to the mid-70s came about mainly because of the relative liberalisation of the communist regime under the Soviet loyalist János Kádár. Károly Makk, who has died aged 91, was among leading Hungarian directors such as Miklós Jancsó, Márta Mészáros, István Szabó, Zoltán Fábri and István Gaál whose films were beginning to be shown and acclaimed more and more in the west.
Because of problems with censorship under the previous, Stalinist puppet regime, Makk, who had been making films since 1955, had to wait until 1971 to gain international recognition with his simply titled masterpiece, Love. “I asked every year for six years for permission to make it. The political elite finally gave in because it was part of a rejection of the Stalin years.
- 9/6/2017
- by Ronald Bergan
- The Guardian - Film News
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