Gyula Bodrogi he got his first film role at the age of twenty-two, but already at the Academy of Dramatic Arts he was so interested in films that he and his classmates broke down a door when they refused to let him in to a screening of an American film, on another occasion he stood up at a Marxist lecture and announced that he could not stay any longer because he had to go to the cinema to go. He received a total of seventeen disciplinary actions, and was fired for kicking the door, but fortunately Lajos Basti thanks to his intervention, he was able to return to college, and since then he hasn’t slowed down for a moment, playing practically continuously. During his long career, he appeared in innumerable theater plays, films and television shows, but he was also a director and theater director, wrote several books, and the public could recognize his characteristic voice in numerous voice plays and foreign film dubbings.
In recent times, he has fought various illnesses several times to be able to return to the stage – currently at the National Theater – with record speed.
The Good Lord will call you from the stage.
he confesses. Although he became a recurring hero of musical comedies and the so-called light genre in the theater world for a long time due to his dancing talent and extraordinary sense of comedy, he showed very diverse faces in his film appearances from the early years.
Marriage Sufficient (1961)
Gyula Bodrogi played one of his first leading roles three years after his graduation, in 1961, in the Károly Wiedermann organized by Marriage is sufficient received in the comedy. This film is also special in his oeuvre, because in the story of the dalliances of young married couples, his wife at the time, Mari Törőcsik was his partner, who by this time was already a real star – according to Bodrogit’s own account, the country first recognized him only as the husband of Mari Törőcsik. In addition, the actress had been married once before, for a very short time: to Károll Wiedermann, who directed the film. According to the story, Szöszi and Árpi get married and move in at a very young age, at the age of eighteen, and they have problems with growing up and married life, but in the end they find harmony, true to honest romcom characters. When asked how they worked so well together on the screen, Bodrogi says simply: “We were in love: that’s all.”
Swan Song (1963)
Martin Keleti the indispensable director of Hungarian film history, who was at home in all kinds of genres: he directed comedies with a cheerful tone, but also quite deep dramas. His legendary feature film, the Swan song somewhere in the middle of the scale. The band of vagabonds living in a dilapidated cottage is tragic in vain – the aging Tamburás, who values his freedom above all else (Antal Páger) and the young people taken under his wing, Notesz (István Sztankay) and Diák (Gyula Bodrogi) – the film tells their story with light humor. In the film, the team lives by stealing and doing odd jobs, and Keleti created the film’s scenes with such thoroughness that when he and Páger and Sztankay were dressed as vagabonds in the market, it was so authentic that the Bodrogis were almost hired by the porters’ boss – he offered them double their salary. The iconic cover songs, including the famous Villa Negra romancet Gábor Garai wrote, and in the film Bodrogi was also able to demonstrate his singing skills, for example The student’s song returnsban.
Twenty Hours (1965)
Zoltán Fábri condensed the Hungarian reality of the twenty years following the Second World War into twenty hours. Saint Francis by adapting his book, he created one of the most important cornerstones of the new wave of Hungarian cinema, in which a gun goes off in a small rural village, yet we do not see a criminal investigation, but rather the exploration of unspoken traumas – the Rákosi era and ’56. By switching between the different time planes, it is not the perpetrators and the motives that come to light, but rather the sad tableau of the Hungarian peasantry after 1945. The film, considered a pillar of Hungarian film history in every respect, was not only welcomed here, but also at festivals abroad: it won awards in Moscow and Venice. Not to mention, he appears in it in the role of Doctor Bodrogi Kiss, then thirty years old.
Beauties and Fools (1976)
To Péter Szász supposedly Pál Sándor suggested at the time that he should also make a silent film one day. Szasz liked the idea and remembered a previous train trip during which he traveled in a compartment with three country football referees. Sports refereeing wasn’t even life insurance back then, so Szász thought: “Why do they do it? Why do they take their skin to the market every Sunday? Do they love soccer that much? Or is it some sort of escape? Will the match come after the six gray days when they are the main characters?” This then became the They are beautiful and foolish film, which the newspaper articles of the time immediately a Old time footballwere compared to, and the genre of which the writer and director Szász defined as: pseudo-comedy. According to the story, István Ivicz (Ferenc Kállai) is a bread delivery man in civilian clothes, but an extremely honest football referee at the weekend. He and his two shore markers, the womanizer Gadácsi (Tamás Andor) and the swindler Fedák (Bodrogi) are the grayest public figures imaginable. Except on Sundays, during third division football matches. Then they are masters of life and death, who lead the game with heart and soul and dream that one day Népsport will write about them. Ivicz’s tragedy is that of a little man desperately searching for meaning in life: he takes the games that cannot be taken seriously, while the great opportunities of life slip by him unnoticed. “You’re going for the jackpot, but you’re throwing away the lottery tickets,” Bodrogi’s character tells him.
Süsü, the dragon (1977-1984)
There is no role that is more fused with Bodrogi’s signature organ than Süsü’s. From the dragon’s point of view, the ostracized green creature with too few heads is unimaginable without the actor’s voice. THE ornamentit is customary to think that it is hungaricum, which István Csukás invented, but actually the Serbian Miroslav Nastosijevic it’s about his radio play, already in the Hungarian version, Bodrogi provided the voice of the dragon, he fell in love with it Vera Takács dramaturg Süsübe so much that he managed to turn it into a musical puppet show at Hungarian Television, for which the aforementioned Csukás wrote the script. THE Süsü, the dragon It ran on MTV between 1977 and 1984, nine episodes were made of the story of the dragon disowned by his father. How much Süsü is a part of Hungarian pop culture to this day is clearly shown by the fact that Bodrogi often tells stories in which children on the street recognize him by his voice. But it is also not a coincidence that Bodrogit, who emerges from Süsü, Mihály Kolodko also immortalized him with one of his characteristic small sculptures on Szabadság tér – according to the actor, it can be a particularly difficult artistic challenge to reproduce his characteristic facial features.
Just Don’t Panic (1982)
If the expression had already been in vogue in the 1980s, it would certainly have been referred to as a representative of the Csöpi universe. Do not panicot. The Pagan Madonna as a quasi-sequel István Bujtor and András Kern As Csöpi Ötvös and Doc Kardos, he tried to recall the Piedone films again in a Hungarian setting. Bodrogi plays a character so popular in Hungarian comedic traditions: the cocky, incompetent, but entertaining lieutenant, who served as a perfect contrast to Csöpi Ötvös, who is far superior in terms of size, mental and physical abilities. THE Do not panic cooks from exactly the same recipe as The Pagan Madonna (and later the other parts of the series), everything that makes one like Bujtor’s films was included with a sure hand, and Bodrogi’s lieutenant Boros also plays a big role in this.
Lucky Daniel (1983)
Among Bodrogi’s many cheerful or clownish roles, one or two negative characters also hide. For example, 1983 Lucky Danielfather, the disgraced communist, who is certainly one of the actor’s least likable characters. Pál Sándor’s film takes place after the 1956 revolution, focuses on the subsequent wave of emigration and the eternal question: to go or to stay? In December 1956, sixteen-year-old Dániel Szerencsés (Peter Rudolph) with his friend Gyuri Angeli (Sándor Zsótér) board a train to leave the country. He is driven by love, his friend is running away. The passengers are all heading for the border, each for a different reason. They then share their stories more and more openly in the cramped car amid the various checks. Pál Sándor drew inspiration from his own life: in ’56, he himself almost got on a train to Vienna. He ended up staying here. It is still difficult to leave the country. By the way, Gyula Bodrogi did not think much about defecting at the time. “Maybe because I don’t know languages and I would have felt lost abroad. […] The truth is that it didn’t even occur to me to leave then. I felt good, I was at the front of the field and I could do what I love. They once told me that the truck was here, let’s go to Austria, but I didn’t feel like it. I stayed” – he remembers. The film has a real tumult of legendary actors; still appears Margitai Branch, Major Tamás, Agi Voith, András KernTörőcsik Mari and Dezső Garas. Although it was banned at home for half a year, a Lucky Daniel it won the main prize at the 1983 Film Review and the critics’ prize at the Cannes Film Festival.
Linda (1984–2002)
A Linda was a completely surreal, yet endlessly entertaining creation of the eighties, it was not so easy to bring the story of the karate policewoman under the roof. Dam in György on the one hand, Jackie Chan– is in Bruce Lee-films, on the other hand, a visit to America left deep traces, but not nearly as much as Nora Gorbe, whom Gát, who was studying directing, tried to impress with what a director’s apprentice can best impress an actor’s apprentice with: he offered him a leading role. It’s no coincidence that in the middle of the Kádár era, it wasn’t the greatest idea to make a karate series, but Gát was finally given a chance by MTV, and even though they didn’t believe in success at all, the Linda eventually became one of the hit series of the eighties. In it, Bodrogi plays the father of Linda, played by Görbe, a clownish actor who has serious reservations about his daughter’s career choice. Although as Béla Veszprémi he instantly stole into the hearts of the viewers, a LindaAfter t, Bodrogi did not take on a leading role in a series for almost forty years, a Doctor Balatonnal broke the streak in 2020.
World number! (2004)
Robert Koltai In his film presented in 2004, only those who did not want to were not included: in addition to the prestigious Hungarian star cast, Jiří Menzel also appeared as a theater director, would Bodrogi have been left out? The actor-director tells the bittersweet story of Dodó and Naftalin, the pair of clown brothers spanning decades, and it is no coincidence that Koltai’s best-known films, Soccer or the We never die they jump in on him. Nothing shows Bodrogi’s genius better than the fact that he only appears in the film for a few minutes as the clown Slomo, but even in that time he is one of the most memorable characters in the film: he is easily burned into the viewer’s mind as he beats a child from head to toe in a clown costume and then sings the film’s theme song, László Dés acquired by The clown is kingt.
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