Other Titles • Sunshine • A Napfény íze (2000) • The Taste of Sunshine (1999)
Synopses for Sunshine (1999)
1.
Director István Szabó's SUNSHINE is an epic tale that follows the Hungarian Jewish family the Sonnenscheins through five generations spanning more than 100 years, from the mid-1800s to the mid-1900s, exploring the history, politics, world wars, social diaspora, and economic shifts that influence and change them during that period.
Beginning with Emmanuel Sonnenschein, who builds a business around the family product (a Taste of Sunshine tonic), the film follows the lineage from his son Ignaz (Ralph Fiennes), a political conservative loyal to the Hungarian Republic, to Ignaz's son Adam (also played by Fiennes), an olympic fencer who is victimized by the Nazi genocide, to Adam's son Ivan (Fiennes again), a member of the Hungarian communist regime who manages to divorce himself from it and be free. Through these transitions, it is Valerie (played by both Jennifer Ehle and her real-life mother, Rosemary Harris), the cousin and wife of Ignaz, who becomes mother to Adam and grandmother to Ivan, supplying moral support, a family backbone, and photographs: a signature snapshot technique is used in the film to round out each major chapter or event. A beautiful film with easy transitions, dramatic scenery and costumes, and admirable performances, SUNSHINE's themes of family, history, and Hungarian pride resonate far beyond the big screen.
(1 vote)
2.
Although Sunshine was made by a Hungarian, István Szabó, and deals with the history of Hungary as refracted through three generations of a Jewish-Hungarian family, you might be more inclined to give it three hours of your own life if you approach it as a David Lean movie in spirit. It is an English-language picture, and Maurice Jarre's music recalls his score for Doctor Zhivago. Szabó emulates Lean's intimate-epic style of merging the sweep of history with the crystalline detailing of individual lives, so that the shape of destiny is glimpsed through personal moments that feel at once evanescent and eternal. His lighting cameraman, Lajos Koltai, is one of the handful of cinematographers equal to capturing these moments in lapidary images--cinematic sunshine of the highest order.
"Sunshine" is a literal translation of Sonnenschein, the family name of the central characters. And "destiny" is one meaning of Sors, the name three Sonnenschein offspring choose for themselves to better assimilate as subjects of the Austro-Hungarian empire. Two are brothers, Ignatz (Ralph Fiennes) and Gustave (James Frain); their sister (by adoption) Valerie (Jennifer Ehle) is really their cousin. Both men love her, and Ignatz rocks the ultratraditional family by taking her as his wife. Nevertheless, the Sonnenscheins and the Sors enter upon the 20th century in loving solidarity, grateful to live under a liberal and tolerant regime. That's all swept away by the Great War, the rise of Nazism, and its replacement, the new fascism of Stalinist Communism. Valerie survives them all--though she's played later on by Rosemary Harris, Ehle's own mother. For his part--or parts--Ralph Fiennes goes on to embody two later generations of Sonnenschein/Sors men, the proudly patriotic Adam and his son, the rudderless Ivan, whose guilt over being a compliant prisoner at Auschwitz leads him to buy into the passionate puritanism of the Stalinist purges. Fiennes rises to the awesome challenge of creating three utterly distinct characters who all share the same congenital weaknesses and aching potential for greatness.
This is a film of considerable beauty and sometimes shattering power. Even three hours is not enough to do justice to all the characters, all the wrenching turnarounds of history and political allegiance and rectitude. But the film is never less than gripping, and as an essay on "family values," it's well-nigh definitive. --Richard T. Jameson
3.
In A Time Of Revolution, In A Family Torn By Tradition, One Man Was Consumed By Love.
When great-grandpa Sonnenschein (the name means "sunshine") bottled the cure-all elixir "A Taste Of Sunshine," he established a family fortune and assumed his sons would continue the business. But great-grandpa's sons -- and family members to come -- had very different hopes and dreams.
Ralph Fiennes (The English Patient) plays not one, but three roles in this compelling and acclaimed epic about a Jewish family caught up in the upheavals and false hopes of the war-swept 20th century. A distinguished cast joins Fiennes, including Jennifer Ehle as free-spirited young Valerie, Rosemary Harris (Ehle's real-life mother) as the Valerie of later years, and William Hurt as a war survivor whose new post as a communist official gives him power over his former enemies.
4.
This sprawling family saga follows a Hungarian-Jewish family across three generations, and stars Ralph Fiennes as the father, the son, and the grandson in three distinctly different roles. As a Europudding vehicle for Fiennes and a top-drawer cast (including Jennifer Ehle, Rachel Weisz, Deborah Unger, Miriam Margolyes and William Hurt), Sunshine delivers on all fronts: there's glossy melodrama, high-moral seriousness as history wears the family down like the wind, and leitmotifs--the family elixir called "Sunshine" that founds their fortune, semi-incestuous adulterous liaisons, photographs and faces--that thread the epic three-hour narrative together. Fiennes begins as a stiff Budapest lawyer-cum-officer and judge during the First World War, torn when anti-Semitism raises its head. His son is a champion fencer who denounces the family faith to attain advancement but ends up in the Nazi-run labour camps all the same. The last in the line, a policeman this time, must navigate the Stalinist forces of repression and endures through the 1956 uprising to take back the family name and faith. And yet as a film by director István Szabó (Colonel Redl, Mephisto), it's a bit of a soggy disappointment lacking the bile and spit and visual inventiveness that makes the best of his other works so outstanding. Perhaps the fact that Szabó is directing an all-English speaking cast is the problem, leaving the film feeling strangely old-fashioned and paradoxically lacking a sense of place (despite much of it being filmed in Hungary itself). Although there are some charged emotional beats throughout, pretty costumes, and lots of entertainingly tasteful bonking sequences, the fencing sequences in particular become tooth-pullingly tedious and the whole thing seems to drag, especially as it takes itself so seriously. --Leslie Felperin
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