Through his writing, Györffy takes up the general questions of film adaptations by examining films made by Károly Makk based on literary originals. The open spirit of his work in Hungarian films of the fifties and sixties has still not been appreciated: in the literary-centred Hungarian culture, filming of literary works brought social cachet, and along with other benefits comparative freedom from censorship. Györffy puts the early adaptations of Makk in the trend hall-marked by Zoltán Fábri and László Ranódy.
    Looking at each film in chronological order as well as the underlying literary works they were based on, the author picks out Makk’s characteristic alterations, and already the early films – Liliomfi, The House Under the Rocks, Paradise Lost – stresses the subjectivity and atmosphere of domestic intimacy in the films.
    At the start of the seventies Hungarian cinematography gradually moved from socially descriptive films towards the making of more lyrical, more subjective movies. Beside the most characteristic and influential film of this trend, Huszárik’s Sinbad, is Makk’s film Love. Györffy shows in detail the circumstances of the adaptation from Tibor Déry’s two novellas – the script, the taking of parts from the writer – and particularly highlights the working relationship between Makk and his cameraman János Tóth, which continued in the next two films Catsplay and A Very Moral Night. Györffy construes the three films as interpretable as a trilogy: besides the visual similarities among the films, the women, the depiction with tenderness and gentleness of the destinies of older women connect the films.
    From the end of the seventies Györffy explains Makk’s adaptations as revealing an ever more pessemistic world-view and a changed literary medium and culture in which, in place of the writers who gave Makk so much inspiration, come others with works of a different kind which do not summon or inspire the director.