Banned for over twenty years and only released after the Velvet Revolution, Jiří Menzel’s Larks on a String is a film out of time. It was one of the director’s more overtly critical works in the ’60s, openly sarcastic about the Communist regime in Czechoslovakia. As a result, it endured censure and became a valuable relic of the grim post-Prague Spring era, lacking the timelessness of Menzel’s more gently comedic films of the period.
It’s a shame that it has dated in comparison to the likes of Closely Watched Trains (Ostře sledované vlaky) and Capricious Summer (Rozmarné léto), because as well as ripping the piss out of the petty bureaucrats and their dim-witted slogans (“We’ll pour our peaceful steel down the imperialist war-mongers’ throat!”) it is also an extremely tender and poignant film.
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Set in a huge scrapyard in the Bohemian town of Kladno in the ’50s, the story centres around a group of so-called dissidents and counter-revolutionaries, sent by the authorities for re-education among the piles of broken typewriters and twisted wrought-iron bedsteads. They’re a mostly meek and browbeaten bunch, resigned to shuffling about among the mountains of waste, having philosophical discussions and sneaking a peek at the group of women detained for attempted defection across the fence…
Continue reading “Larks on a String (Skřivánci na niti) – Jiří Menzel, 1969/1990”
Rapturously beautiful, disturbingly erotic, and strangely frightening, Valerie and Her Week of Wonders is an intoxicating blend from director Jaromil Jireš, a key figure in the Czechoslovak New Wave. It’s a surrealist horror where reality and identity are fluid, yet the film has its own dreamlike logic where it all makes a kind of sense while you’re watching it. Then, like so many dreams, the more you try to remember on waking, the more it slips from your grasp…
That was my first experience of the film. I’ve wanted to write about it for a year now because when I saw it on a crappy Youtube copy, I realized that I’d just watched something very special. I just couldn’t quite define what I’d watched. It probably didn’t help that I forgot a key detail – that our young protagonist, Valerie (Jaroslava Schallerová), is encountering her first period.
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It occurs early on, and provides one of the iconic images of the film – a droplet of bright fresh blood on the head of a daisy – but the moment was lost to me almost immediately in the subsequent whirl of ravishing imagery, potent symbolism, ethereal beauty and earthy sensuality. Luboš Fišer’s score is also transportive, whisking you away to another time and place…
Continue reading “Valerie and Her Week of Wonders (Valerie a týden divů) – Jaromil Jireš, 1970”