in the rebellion. The film was shot in widescreen in black and white by regular Jancsó collaborator Tamás Somló. Although it is Jancsó most famous film, The Round-Up does not exhibit many of his trademark elements to the degree to which he would later develop them: thus, the takes are comparatively short and although the camera movements are carefully choreographed they do not exhibit the elaborate fluid style that would become distinctive in later films. The film does, though, use Jancsó's favorite setting, the Hungarian puszta (plain), shot in characteristically oppressive sunlight. The Round-Up premiered at the 1966 Cannes Film Festival and was a huge international success. Hungarian film critic Zoltán Fábri called it "perhaps the best Hungarian film ever made." Film critic Derek Malcolm included The Round-Up in his list of the 100 greatest films ever made. In Hungary, the film was seen by over a million people (in a country with a population of 10 million). Jancsó's next work The Red and the White (Csillagosok, katonák, 1967) was a Hungarian-Soviet co-production to celebrate the 50th anniversary of the October 1917 revolution in Russia and the subsequent Hungarian Revolution of 1919. Jancsó set the action two years later during the Russian Civil War and, he made an anti-heroic film depicting the senselessness and brutality of armed combat. The film starred József Madaras, Tibor Molnár and András Kozák and was written by Jancsó. Along with The Confrontation, The Red and the White would have premiered at the 1968 Cannes Film Festival, but the festival was canceled due to the events of May 1968 in France. Internationally this film was Jancsó's biggest success, and received critical acclaim in Western Europe and the United States. It won the Best Foreign Film award from the French Syndicate of Cinema Critics. Along with Red Psalm (1971) it is featured in the book "1001 Films You Must See Before You Die". Jancsó then made Silence and Cry (Csend és kiáltás) in 1968. The film stars András Kozák as young revolutionary who goes into hiding in the country after the failed 1919 Hungarian Revolution. Kozák is hidden by a sympathetic farmer who is suspected by and constantly humiliated by the White Army. The farmer's wife is attracted to Kozák and begins to poison her husband. Kozák's morality compel him to turn the farmer's wife over to the White Army. This was the first film that Jancsó