Miloš Forman’s last Czech film, The Firemen’s Ball, starts off as a lighthearted farce. By the time the film reaches its masterful third act, it has become a tragicomedy of tremendous allegorical power.
It can be seen in numerous ways. A literal reading got Forman in hot water with real fire crews up and down the land, who saw it as an attack on their honour and integrity, resulting in Forman touring the country to make amends. You could interpret it as an indictment of human foibles and corruptibility; a satire on corporate groupthink; or a stealth condemnation of the Communist system. The Czechoslovakian Communist party certainly saw it as the latter, resulting in the film being “banned forever”…
Continue reading “The Firemen’s Ball (Hoří, má panenko) – Miloš Forman, 1967”
Much like Michael Bay’s mega-budget travesty Pearl Harbor from the same year, Jan Svěrák’s Dark Blue World (Tmavomodrý svět) squanders a fascinating true story in order to indulge in a tepid love triangle. The sad thing is, while all of Pearl Harbor is awful, it’s only the romantic element of Dark Blue World that brings it into disrepute, tainting an otherwise rousing tale.
Continue reading “Dark Blue World (Tmavomodrý svět) – Jan Svěrák, 2001”
Loners (Samotáři) was the first Czech film I saw in a movie theatre. I was on a teacher training course in Prague at the time, and there was a buzz going around that it was the Czech answer to Trainspotting. I ended up getting completely rat arsed before, during and after the screening, so I couldn’t remember a single thing about it.
That complete blackout has always made Loners something I’ve been eager to revisit. Trainspotting flash-froze a zeitgeist so perfectly that it felt dated by the time it came out on video, so if Loners truly was in any way equivalent, how would it stand the test of time? It’s now half my life since that drunken cinema visit – I was in my early twenties then. What, if anything, would the movie say to me now as a father of two in my early forties?
Continue reading “Loners (Samotáři) – David Ondříček, 2000”