Andula (Hana Brejchová) works in a shoe factory in a small town where, thanks to inept state planning, women outnumber men by 16 to 1. She shares a dorm in a dreary hostel with several other women of her age, and despite the odds has a good-looking boyfriend called Tonda. He’s bought her a ring and told her the stone in it is a diamond. She wants to believe it.
Loves of a Blonde was Miloš Forman’s sophomore effort after Black Peter (Černý Petr) and is a key film of the Czech New Wave. The title may well be ironic. While Andula certainly seems to have no trouble attracting the attention of the opposite sex, the men in her life don’t seem even remotely capable of giving her the relationship she needs. She is quite worldly compared to some of her friends, but still dreams of love and romance – we can tell that from the opening scene, where she is cuddled up in bed with one of her friends cooing over the ring.
Tonda, despite his respectable portrait pic, turns out to be an aggressive, possessive moron and the other guys in the movie aren’t much better. At a village dance, Andula and two friends are approached by three sleazy middle-aged soldiers who are stationed nearby. Their idea of wooing the girls is to get them drunk and take them for a quick knee-trembler in the woods nearby…
Continue reading “Loves of a Blonde (Lásky jedné plavovlásky) – Miloš Forman, 1965”
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”
“In Italy for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock…” – Harry Lime (Orson Welles) in The Third Man
Troubled times often produce great art. In Seventies America, directors finding freedom after the collapse of the old Hollywood system were able to use the uncertainty and paranoia of the time as muse, producing an incredible sequence of films. These movies captured the sombre tone of the Nixon and late Vietnam era, as well as channelling the psychic fallout from the tumultuous previous decade. They were often cynical, fatalistic, angry, paranoid, usually featuring ambiguous or dislikeable protagonists and open-ended or downbeat conclusions, but they were – and still are – a feast for cinephiles.
Continue reading “Czech Directors Abroad: One Flew Over the Cuckoo’s Nest – Miloš Forman, 1975”