Quote:
“The entire town knows that I want to be a train dispatcher for the simple reason that I don’t want to do anything?just like my ancestors?but stand on the platform with a signal disc and avoid any hard work, while others have to drudge and toil.” – Milos HrmaRead More »
Synopsis:
Dr. Braun is forbidden to practice medicine because he’s a Jew living in Nazi occupied Czechoslovakia. He’s old, seems resigned about the fate of the Jews, and even works in the Department of Confiscation of Jewish Property. One day a neighbor asks him to assist a wounded political fugitive. Dr. Braun reluctantly operates to remove the bullet, but warns that plenty of morphine will soon be needed in order to keep the man from screaming when he awakes, which would attract unwanted attention. After some soul searching, Dr. Braun decides to redeem himself and reclaim his identify as a person and doctor by continuing to provide assistance. His search for the scarce morphine takes him on a nightmarish journey which includes a brothel where local women are forced to be prostitutes for German soldiers, a bar where the locals try to drown their misery in booze and dancing, and a Jewish insane asylum with a high suicide rate. Meanwhile, in a world where there is constant propaganda instructing people to report any suspicious or disloyal activities, it may only be a matter of time before someone in Dr. Braun’s apartment building call in the state police.— TimeNTide (IMDb)Read More »
The flirtatious title of Milos Forman’s breakthrough comedy Loves of a Blonde says a lot about the film without even trying. Everybody in Forman’s bittersweet film thinks about sex constantly but only in terms of hypothetical scenarios that almost never come to pass. The funny thing about these daydreams of coitus is that they’re not strictly sexy. In fact, most of the time characters in Loves of a Blonde are wringing their hands about sex, even the trio of homely soldiers licking their lips at the thought of seducing a table of bored blondes at a local dance. First they send alcohol to the wrong table and are subsequently unsure of how long they should smile at the girls they plan on getting drunk and taking to the woods (they aren’t even sure if the idea of taking girls to the woods for sex is just a euphemism or not). Sex is comedy here because it breeds nothing but the kind of anxiety that the title of Forman’s film teems with.Read More »
Olga Hepnarova was a young, lonely lesbian outsider from a coldhearted family who couldn’t play the part society had chosen for her. Her paranoid self-examination and inability to connect with other people eventually drove her over the edge of humanity when she was only 22 years old. The film shows the human being behind the mass murderer. Guided by her letters, we delve into Olga’s psyche and witness the worsening of her loneliness.
Olga is a complex young woman desperate to break free from her unfeeling family and social conventions. With her Louise Brooks-like tomboyish looks she drags herself, chain-smoking, from one job to another until she appears to find her niche as a truck driver. Although she has female lovers she does not form a bond with any of them; instead she clashes, time and again, venting herself in wordless emotional outbursts and other behavioural extremes.Read More »
From starburstmagazine
For anyone feeling a little squeamish, of vegetarian inclination or just full from a hearty meal, the graphic opening scenes of Traps (or Pasti, Pasti, Pasticky to give its original title) that feature pig castration may prove a little difficult to stomach. These images also feel burned into your retina somehow; a poignant, pre-emptive piece of filmmaking that becomes disturbingly relevant later in the film. For Czech new wave director Vera Chytilovà, filmmaking was a mission. She became a dominant force in the industry and was often described as a militant feminist, although she preferred the term individualist. Traps bears many of the hallmarks that justify both these labels, and even now remains both boldly ambitious and deeply flawed.Read More »
IMDB Review
This movie is the very last opus of a great Czech director Frantisek Vlácil(1924-1999; Markéta Lazarová, Valley of the Bees, Concert at the End of Summer) and it’s truly his masterpiece.
In a breathtaking way it narrates some episodes from the life of possibly the most famous Czech poet Karel Hynek Mácha (1810-1836). Actually the title of the film “Mág” may have two meanings, the first one (a mage) refers to the talent of the deeply romantic Mácha (played by outstanding Jirí Schwarz), the second one is the contemporary transcription of Mácha’s most famous poem Máj (May).Read More »
SYNOPSIS from kviff.com:
Jiří Krejčík’s A Higher Principle, together with Weiss’s film Romeo, Juliet and Darkness (1959), was one of those Czechoslovak films at the forefront of what is characterised in literature as the second wave of war prose. After years of the schematism and trivialisation of heroic pathos, films were gradually appearing towards the end of the 1950s which treated the theme of war with greater intimacy, and the heroism of those who resisted evil and Nazi barbarity was not so apparent at first glance. Krejčík selected a story by Jan Drda written almost immediately after the liberation, whose short text he and the author considerably reshaped.Read More »
Synopsis:
Franta Louka is a concert cellist in Soviet-occupied Czechoslovakia, a confirmed bachelor and a lady’s man. Having lost his place in the state orchestra, he must make ends meet by playing at funerals and painting tombstones. But he has run up a large debt, and when his friend, the grave-digger Mr. Broz, suggests a scheme for making a lot of money by marrying a Russian woman so that she can get her Czech papers, he reluctantly agrees. She takes advantage of the situation to emigrate to West Germany, to her lover; and leaves her five-year-old son with his grandmother; when the grandmother dies, Kolya must come and live with his stepfather – Louka.Read More »
A student, Oldrich “Fajolo” Fajtak, has a romantic attachment to two girls: his hometown love Bela, and Jana – a lover whom he meets during a summer job on a collective farm. One storyline of the film peels layers off Bela’s permanently tense home life marked by her blind mother’s helplessness, her father’s past break with his father who lives in the village where Fajolo is finding some consolation in the arms of his new lover Jana. As Fajolo begins to pry into Bela’s grandfather’s secrets, she, in turn, allows her new boyfriend Peťo to read and deride Fajolo’s remorseful letters from the farm. This lovers’ triangle provides the film with several oppositions: town and country, intelligentsia and worker, collective and personal truth in communist Czechoslovakia. The potential symbolism of the film appeared ominous to the Communist authorities bent on banning the film, but the nascent political thaw helped the filmmakers prevail and the release of “The Sun in a Net” became its harbinger in Czechoslovak film and culture.
Stanislav Szomolányi’s location cinematography and Ilja Zeljenka’s musique concrète score remain striking.Read More »