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FREEDOM FIGHT FOR LOVE, AN EXCELLENT FARCE AND SOME MUSIC BY LEHÄR
a real character, not a place and a figure in an operetta. However, Feleki did not
play the stereotype of the stupid capitalist, i.e. “the cretin, giving concessions
in exchange for friendly favors”.*® Rather he created a complex character*”®
with traits of a senile patriarch, a benign grandfather, a grumpy old man,
a charmer, certainly not in his heyday, and a tyrant abusing his power."
Feleki’s acting was as rich as Honthy’s, though in a different way, and while
he did not allow Sir Basil “to become either farcical, [...] or amiable only”, he
made the audience understand why Fleury told Angéle (besides her obvious
persuasion) that “this Sir Basil was basically a nice chap”.*” Reviewers were keen
on describing the complexity of Feleki’s character impersonation, the details
of his diction, movement and gesticulation, expressing all ambivalences of a
figure, and they found what they saw “irresistibly amusing”.“? They regarded
it as the peak performance of an actor following Stanislavsky’s guidance, and
they all shared the opinion of the columnist of Magyar Nemzet: “a deeper,
more multifaceted, more critical performance has never been seen before
in operettas”.*!* A few months later, the actor was honored the prestigious
Kossuth Prize, which Feleki’s another 1952 performance contributed to: his
Glauzius in State Department Store. Viktor Gertler’s film of this operetta
was also shot in that year and Feleki “burst upon Hungarian cinema with this
performance, creating a character that he did not change for the rest of his
life"."5 At 44, he played a 65-year-old man, “so that he would not age in his
roles for 20 years”.*®
Feleki and Honthy, two stars in supporting roles, overshadowed the first
couple of The Count of Luxembourg so much that critics addressed the prima
donna and the bon vivant only to express their dissatisfaction. Although they
found enough dramatic power in Zoltan Szentessy, whose René was “more
40° Tbid.
#10 Cf, “Feleki knows that he would be able to entertain with imbecility alone, but he would not
be able to create a personality, only if he shows where this imbecility comes from. That’s
what he has been researching tirelessly in his acting.” Mátrai-Betegh: Luxemburg grófja, 5.
(My italics — A.K.K.)
Cf. “Sir Basil often does a hop, skip and a jump to indicate that he is still young and strong,
who has access to love, but stumbles on the stairs as an old man. He vehemently dances polka,
but when he bows to his partner, he collapses and can barely get up. He takes his beloved to
the dance, but after the second round gets to his heart and cannot keep up. He is proud of
his money and power, but he is rather senile, without becoming pathetic. Grotesque without
exaggeration. In spite of his boredom, he shows sufficient energy to be a nasty opponent
to René, not that he could conquer Angéle, but he tries to carry his will through. Thus, the
conflict gains strength and makes the situation more tense.” Ibid.
#2 Ibid.
#3 Both critics use the same phrase: Sebestyén: Egy kiváló színészi alakításról, 3. and Gombos:
Luxemburg grófja, 4.
Mátrai-Betegh: Luxemburg grófja, 5.
Hámori: Gondolatok a proletkult nevetéshez, 90.
#6 Ibid.
41
¬
u
414
41.
a
* 90 ¢