"An incredibly powerful film creation. The sounds, the music, and the visual world are all familiar and authentic to me because I, too, was a novice worker around that time. I lived (live) in the Havanna housing estate and commuted to Kobánya to work under similar circumstances. At the end of the film, when Zsuzsa takes her daughter back from Jutka, it's heart-wrenching. Erika Ozsda delivered an outstanding performance in this scene (as well). Scenes played with such depth and elemental force are rarely seen nowadays. By the way, it's an excellent cinematographic idea to frequently show the main character's face in a wide shot because Erika Ozsda's face is exceptionally expressive. The subtle movements of her big, beautiful, dark, expressive eyes reveal her emotions well. Behind her simple, somewhat neglected appearance, her voice, and her behavior, there is intelligence, resourcefulness, and deep emotions hidden. She's an extraordinary talent, a shining diamond discovered by Pál Erdoss.
"Pál Erdoss started as a disciple of the founders of the Budapest School. However, his first film, 'Adj király katonát' (1982), was a revelation, mainly thanks to the talent of Erika Ozsda, whom he discovered. The film takes us into an unseen world until now: a young girl from the countryside, orphaned even by her foster parents, moves from the village to Budapest and finds work at the Fonó in Pestlorinc, just as those like her almost inevitably found unskilled, cheap labor in the weaving industry at that time. She drifts alone, hardened by her own failures, and increasingly resists the world.
These films belong to the trend of the educational films of the 1980s. Unlike the educational films of the 1950s, here, the formal and informal re-education is not carried out in the name of a communal vision of the future, but rather, it is the impact of societal changes that shapes and forces young people onto certain paths of development. The fate of institutionalized children and young people without a family background thus becomes exemplary in the 1980s. This is how, through them, society's selfishness, hypocrisy, insensitivity, and the incompetence of its institutions for upbringing are exposed (e.g., 'Vasárnapi szülok,' 1979, 'Kabala,' 1981, directed by Rózsa János)."
"Pál Erdoss started as a disciple of the founders of the Budapest School. However, his first film, 'Adj király katonát' (1982), was a revelation, mainly thanks to the talent of Erika Ozsda, whom he discovered. The film takes us into an unseen world until now: a young girl from the countryside, orphaned even by her foster parents, moves from the village to Budapest and finds work at the Fonó in Pestlorinc, just as those like her almost inevitably found unskilled, cheap labor in the weaving industry at that time. She drifts alone, hardened by her own failures, and increasingly resists the world.
These films belong to the trend of the educational films of the 1980s. Unlike the educational films of the 1950s, here, the formal and informal re-education is not carried out in the name of a communal vision of the future, but rather, it is the impact of societal changes that shapes and forces young people onto certain paths of development. The fate of institutionalized children and young people without a family background thus becomes exemplary in the 1980s. This is how, through them, society's selfishness, hypocrisy, insensitivity, and the incompetence of its institutions for upbringing are exposed (e.g., 'Vasárnapi szülok,' 1979, 'Kabala,' 1981, directed by Rózsa János)."
