If there is such a thing
as a road movie, then "Blondie's Paradise" is a street movie.
It takes place in streets, squares, dives and apartments
- in a city: the wealthy and dilapidated city of Budapest
at the beginning of the 21st century.
Two stories run in parallel, in blocks:
three days in lives of Blondie, a homeless man, and Tita
(Titanilla), a high school student. Via dramaturgical techniques,
we make the viewers feel that the two stories must converge,
sooner or later...
"I don't want to sober up, ever."
That's Tita's key sentence, and she’s only just turned
She's a late bloomer who finds herself uninteresting. Possessing
all the charm and awkwardness of late adolescence, this
depressed, feather-brained, cheeky young miss is searching
for her role and place in Budapest, at the dawn of the
millennium, amidst the neurotic and voluptuary chaos of
the upper middle class. She tells lies continually because
she is dissatisfied with the world, her own securely wealthy
and boring family, and especially herself. She creates
entire worlds around herself: stories that ballads, books
and dramas are made of, completely uninhibitedly and with
inexhaustible imagination. She projects a non-existent
reality around herself; a reality in which she appears
interesting, for whatever reason. In a strange and also
characteristic way, it is precisely this that will make
her interesting for many.
Being taken to a molting party where the
highlight of the night sees the gorgeous youth dancing
in only their underwear, Tita tells enough lies about herself
to fill a spy novel, and Noir falls for her completely.
Tita comes up with a feebly beautiful
tale about her adolescent drug related experiences and
her mad older brother. This time, she succeeds in getting
Csóka (Noir's classmate) to fall head over heels for her.
Then they go to an illegal drag race. Tita begs and begs
until Rodi finally lets her sit in his huge four wheel
drive. She ends up vomiting in it, and subsequently comes
up with a newer tale about her boring father and fighter-pilot
uncle. Now not even Rodi can escape her charm.
She tries speed for the first time at
a Goth-metal concert. It's an eerie experience. They then
cool off in Rodi's nouveu-rich apartment. Csóka keeps feeding
Tita alcohol until he manages to free himself of his inhibitions,
and Tita of most of her clothes. He tries to take advantage
of her, but to no avail, because she almost dies from the
overdose of alcohol and party drugs. But she still has
some reserves, and she survives in the end.
Blondie is a man, about thirty-five years
old. He's not blond, and he doesn't have blue eyes. He
is unshaven. His mates nicknamed him Blondie, because he's
got a thing for blonds. He was a lawyer once, then he slipped
up, got divorced, fleeced, etc. But we only sense this
now. It's not important any more. Blondie and his companions
- the eternally dissatisfied Thorn, and the burly, somewhat
weak-minded Macho - are innocent, jocular rascals, unwilling
to accept the terrible dimensions of their fate. They are
Steinbeck type heroes. They have nothing to lose any more.
The usual copulation doesn't take place
that day, but our boys end up ten thousand forints richer.
Their big booty causes their downfall. Thorn's epilepsy
is set off by the unusually large quantity of alcohol they
consume afterwards. Macho still has a last, faint path
back to society. Blondie, however - totally alone now -
tries hopelessly to hang on. He tries to take shelter in
a half complete villa in Buda, but a fatal accident causes
In the early hours of the morning, Rodi takes Tita for a walk. It just
happens to be at the construction site of the villa that he's currently
dealing with. To top off an eventful night, they find Blondie's corpse
there. This is where the two stories connect, for a short, cathartic moment.
This is a slightly obscure, edgy film about a slightly turbid, edgy world.
It is sharp, splintered, jabbery and dim. It aims to evoke emotion, but
is itself insensitive, just like animes, electronic psycho-horrors and
dense metal music.
The situations are more ironic and comic rather than depressing, and are
countered by the visual world of the film.