“The Hungarian Orange”

CHAPTER VI
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During the production of "The Witness" (A tanú, 1969), a satirical film directed by Péter Bacsó that lampooned the absurdities of the communist regime, the filmmakers faced a peculiar challenge. One iconic scene required the creation of a "Hungarian orange"—a fruit that, due to the country's unsuitable climate, turned out to be a lemon. This was a direct jab at the regime's unrealistic agricultural expectations. To pull this off, the crew had to paint lemons orange to resemble the fictional fruit. The scene became emblematic of the film's biting humor and critique of political absurdity. However, the authorities didn't share the joke; the film was banned for a decade, only premiering in 1979.

Before World War I, Budapest was a cultural hub where cinema flourished as a new art form. The first permanent cinema, the "Projectograph," opened in 1906, and Hungarian filmmakers like Mihály Kertész (later Michael Curtiz) gained prominence. Silent films dominated, with Budapest serving as a creative center for Hungarian studios like Hunnia.
World War I disrupted the industry, but the interwar period saw a revival. Directors like Alexander Korda gained international fame, and Budapest’s film industry embraced a mix of realism and stylization. However, World War II brought further challenges, with the industry constrained by war and Nazi occupation.

After World War II, Soviet influence reshaped Hungarian cinema. Socialist realism dominated under state control, but directors like Zoltán Fábri and Miklós Jancsó began creating allegorical films that subtly critiqued the regime. By the 1970s, Hungarian cinema entered a golden age, marked by experimental storytelling and international acclaim for directors such as István Szabó.
After the fall of the Soviet regime in 1989, Hungarian cinema gained greater freedom. Filmmakers explored diverse themes, from personal stories to national history, with Budapest remaining a vibrant cinematic center, hosting international festivals and nurturing a new generation of filmmakers.

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