Shot in wintry hues, Adelheid is a tragic drama about two shellshocked, fatally star-crossed lovers who find each other amid the psychic fallout of World War II. It is the cinematic equivalent of curling up in front of the fire with a really good book.
The story opens in 1945, during the tumultuous expulsion of Germans from Czechoslovakia. The war may be over but it’s still a dangerous time, with lawlessness and banditry as the liberated country tries to find its feet again. Troubled Lieutenant Viktor Chotovick (Petr Čepek) arrives in a small town after spending the war moving from place to place, longing to return to his home country. He is treated with initial suspicion by Sergeant Hejna (Jan Vostrcil, a familiar face from Miloš Forman’s New Wave stuff, including Loves of a Blonde and The Firemen’s Ball). Turns out Viktor is in town with a job to do – he’s been assigned to catalogue and manage a large isolated mansion.
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The assignment suits Viktor because he’s just trying to get his head together after the war. The mansion was formerly the home of a wealthy Jewish family before it was commandeered by a local Nazi party member, Heidenmann, who has been captured and taken to Olomouc to await execution. What Viktor isn’t told is that the mansion comes with a cleaner and a cook – Heidenmann’s daughter, Adelheid (Emma Černá), who is sent by Hejna to serve Viktor…
Continue reading “Adelheid (1970) – František Vláčil”
There’s an underseen film called The Navigator: A Medieval Odyssey, where some English miners from the Middle Ages tunnel through the earth and emerge in modern-day New Zealand. Watching Marketa Lazarová feels a bit like that in reverse – you leave your comfortable 21st-century life behind for a few hours and pop up in medieval Bohemia.
Director František Vláčil (Adelheid, The White Dove) spent around two years filming on location, which meant his cast and crew were afforded barely much more luxury than the story’s characters. Few films have such a feeling of history – not in the studious sense of dates and places, but of deep dark waters of time rolling beneath the keel of the present day’s unsteady ship.
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Few films also match Marketa Lazarová‘s dazzling visuals with such authentic production values, so while the virtuosity of Vláčil’s film making often distracts from the story, the credibility of its setting is never in doubt.
Based on the novel by Vladislav Vančura, which in turn was based on an ancient Czech legend, the film declares itself a “Rhapsody” on the title card. That might seem a little precious, but Vláčil is a director who freely admits to valuing visuals over story, and by dispensing with most conventional narrative techniques creates a film that is both lyrical and rhapsodic. It is perhaps best enjoyed if you can forget the story and surrender yourself to it as a purely sensory experience…
Continue reading “Marketa Lazarová – František Vláčil, 1967”