Sog.: Rezsö Török, Tamás Emöd; Scen.: André De Toth; F.: Károly Vass; Mo.: Zoltán Kerényi; Scgf.: Márton Vincze; Co.: Gizella Langermann; Mu.: Szabolcs Fényes; Su.: István Lázár; Int.: Bella Bordy (Torma Vica), Mária Tasnádi Fekete (Kártély Gyöngyi), Piroska Vaszary (Pletyus), Gyula Csortos (Filc Bácsi), Andor Ajtay (Csiszár István), Károly Kovács (Lali), György Dénes (Võlegény), László Földényi, Piri Ádám, Vali Rácz, Lajos Köpeczi Boócz; Prod.: Béla Lévay per Hunnia Filmgyár / Photophon film Kft.; Pri. pro.: 4 ottobre 1939
André De Toth was a great film-maker, we are indebted to him for a number of extraordinary films (dating back to his first Hungarian works) and many masterpieces. He fought to make ambitious films and refused to work under a studio contract, thus showing a rare desire for freedom (…) One day, following a screening of Round Midnight, De Toth told me, “You made me cry. And it’s hard to cry when you only have one eye.” He comforted and supported me. He was never bitter, he would never have said something like: “Cinema was better when I was making films”. He remained curious, open-minded; he battled for the American Cinémathèque on Hollywood Boulevard (…) “We’re like passengers driving at full speed on the new highways of communication”, he wrote. “It’s the same road since 1895, only it’s slippier because of the sweat and the blood and with more cracks: each of them a broken dream. These past hundred years have been terrible, yet we’ve enjoyed every single minute of them. As long as this fever, this love for making films survives, nothing will ever change”. On his sets, one big sign read, “Drama should occur in front of the camera, not behind it”, another, “Technology will never replace brains and intelligence”.
Print restored by Cineteca di Bologna and World Cinema Foundation at L’Immagine Ritrovata laboratory from the original 35mm camera and sound nitrate negatives preserved at the Magyar Nemzeti Filmarchivum. The digital restoration produced a new 35mm internegative.