Joseph Kilian (Postava k podpírání) – Pavel Juráček and Jan Schmidt, 1963

Sometimes a film just doesn’t grab me at all and then I’m sat looking at a blank document thinking, “I don’t know if I can be bothered to write anything about this”. It is extra frustrating when I can see the film’s qualities, but feel so neutral towards it that I struggle to muster any enthusiasm.

One such film is Juráček & Schmidt’s Joseph Kilian, a paranoid short drama from the Czechoslovak New Wave. Knowing that the review is going to be a battle, I face a dilemma. Do I –

a) Give up on the movie and watch something else, then maybe come back another time when a change of mood or circumstances might make it chime differently.

b) Plough ahead regardless and eke out 700-800 words on it, going through the motions and stating the obvious, like the clear influence of Franz Kafka and blah blah blah.

Or

c) Find a hook, a way to approach the film that will entertain me and, in turn, hopefully make the article more entertaining for the reader. My first instinct with Joseph Kilian is to go with option C, but what is the hook?

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A Case for a Rookie Hangman (Případ pro začínajícího kata)  –  Pavel Juráček, 1970

Starting off as a screenwriter for some of the most notable films in the Czech New Wave, Pavel Jurácek (Daisies) eventually transitioned into the role of director and went on to contribute to the movement by directing his own films. His last film, Case for a Rookie Hangman, was a surreal experience, to say the least.

From the start of the film, it’s no secret that Jurácek was inspired by the works of Jonathan Swift, specifically Gulliver’s Travels. He even apologizes beforehand in the film’s opening credits: “If Swift should turn in his grave on account of this film, I beg his compatriots for forgiveness.” This interpretation of the novel finds Lemuel Gulliver (Lubomír Kostelka) in a strange place with bizarre customs that satirize life in Czechoslovakia under the Communist regime.

Case for a Rookie Hangman Blu Ray

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Jurácek also channels the works of Franz Kafka and Lewis Caroll’s Alice in Wonderland, which is evident in the surreal nature of the film. For instance, at the beginning of the film, Mr Gulliver loses control of his car and ends up running over a hare dressed in tiny clothes, and even finds that it had a watch in its pocket. After this bizarre incident, he finds a house that resembles the one from his childhood. But once he’s inside, he’s bombarded with memories of his youth: a girl he once loved who drowned, an old friend who also died, a woman who had a part in his sexual awakening, and many more images from his past…

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