I recently moved from Brno to a small village of about 500 people, which is something I thought I’d never do. I’ve always loved the city and the countryside freaks me out. Sometimes I get spooked when I’m out trudging the lanes and wood trying to fill in the blanks around me – it is the absence of people that makes it so unnerving. Occasionally I’ll stumble upon a cross or a shrine set starkly against a frozen cornfield or a big empty sky, and it seems more imposing than the huge churches and cathedrals that get a little lost in the hustle and bustle of city life.
Out in the countryside, it feels like mankind has sprouted out of the earth along with their dwellings over the millennia. In the dark months of winter, the village air is full of woodsmoke. It’s the first time I have really thought about the fact that people grow trees just to chop them down and burn them to keep warm. Similarly, some village folk grow their own creatures to kill, disembowel and eat. It all seems a bit medieval after a lifetime of central heating and buying pre-murdered supermarket chickens in the same way I might choose an apple, checking for size, shape and blemishes before dropping one into my basket.
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These observations bring me, in a roundabout way, to Intimate Lighting. The divide between city and the village seems more sharply felt in the Czech Republic than back home in the UK, and many Czech films revolve around this dichotomy. One of the aspects I enjoyed most about Passer’s mini-masterpiece is how it explores this theme in such a hushed, minutely detailed way…
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At the very least it will put a big dumb grin on your face, followed by a slight frown as you gaze into the middle distance trying to figure out whether it all adds up or not. Happy End sure beats the hell out of last year’s joyless Tenet, although when it comes to telling a story backwards, it doesn’t quite hit the heights of Memento or Eternal Sunshine of a Spotless Mind. Just seeing the bravura way in which Oldřich Lipský flourishes the reverse chronology trick is worth your time alone. Yet it is a stunt that offers a breezy blast of comic relief while exploring the classics of the Czech New Wave. Ultimately that is all Happy End is – a stunt, but a clever and often hilarious one.
As brilliantly as Lipský pulls it off, it does get a little tiring towards the end – or should I say the beginning? My brain kept trying to flip the backwards conversations around to track their normal course, and it made my head hurt after a while. The popular director of quirky classics like Lemonade Joe and Adele Hasn’t Had Her Dinner Yet had the sense to keep it short and sweet. Happy End clocks in at just 71 minutes and that is definitely a good thing.
Rounding out the main cast is Josef Abrhám as the shameless seducer, Mr Birdie, and formidable comic actress Helena Růžičková as our hero’s long-lost love. She has an innate knack for comic timing reminiscent of Madeline Kahn in those great Lipský-esque American comedies of around the same era – Blazing Saddles, Young Frankenstein and What’s Up Doc? Jaroslava Obermaierová is a good foil for Menšík as his radiant, fragile wife Julie, gliding through the slapstick elements with grace intact, looking like she’s enjoying herself as much as the audience…
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I once knew an indestructible drunk who had a natural talent for causing mischief, then watching the mayhem unfold with a look of cherubic innocence on his face. I shared a grotty Barrandov flat with him for a while. The place was pretty dismal so we spent most of our waking hours in the pub, where I often ended up scrambling to unravel his mess while he sat there with his eyes spinning in opposite directions, chuckling to himself.
It was around this time that I first tried reading The Good Soldier Švejk. There was a remarkable facial similarity between my chaotic flatmate and the novel’s author, Jaroslav Hašek, himself a noted pub denizen, who in turn looked a little like the bottle-nosed character in Josef Lada’s famous illustrations from the book. Over time I conflated the three, so now years later I feel like I once lived with the good soldier himself.
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It has taken me almost one hundred posts on Czech Film Review to pluck up the courage to write something about Karel Steklý’s 1956 adaptation, perhaps the most well-known film version of the novel. It’s a daunting task – Švejk is a cultural icon in his home country and one of the most successful Czech exports, with Hašek’s novel translated into over 50 languages. There are dozens -if not hundreds – of beer halls and restaurants across the country bearing his name, and his image is common from the gift shops of Prague to the farmer’s pub in the small Moravian village where I recently moved. The word “Švejk” has also become a catch-all for willfully incompetent, subversive behaviour, commonly linked with the type of passive resistance that the Czechs have relied on to endure the numerous wars and foreign occupations of the last few centuries…
Continue reading “The Good Soldier Švejk (Dobrý voják Švejk) – Karel Steklý, 1956”