Jan Werich’s Fimfárum (Fimfárum Jana Wericha) – Vlasta Pospíšilová and Aurel Klimt, 2002

Fimfarum Jana Werich
One ČSFD (Czech IMDb) reviewer reports that the lesson they learned from watching Fimfárum Jana Wericha is the following: if you’re a drunk unable to provide for your family or take care of your farm, offer your son to the devil and then use a homeless woman to get him back. And they’re not even reading anything into it. 
 

Fimfárum is one of those strange collections of stories that don’t like simple answers in life. The original book, written and later recorded on tape by Jan Werich in the 1960s, included 21 fairy tales, most of which are absurd or downright bizarre. The 2002 film adaptation didn’t have an easy task translating the light humour, ambiguous moral messages, and beautiful use of the Czech language to the big screen, but they nailed it!

Continue reading “Jan Werich’s Fimfárum (Fimfárum Jana Wericha) – Vlasta Pospíšilová and Aurel Klimt, 2002”

Three Wishes for Cinderella (Tři oříšky pro Popelku) – Václav Vorlíček, 1973

Libuse Sanfrankova as Cinderella

Let’s face it – most modern film versions of fairytales suck.

The pervasive obsession with postmodern spins on these timeless tales is largely to blame, and one big green grumpy ogre has been the chief culprit over the past twenty years or so.

The trend started much earlier though, with The Princess Bride in 1987. It wasn’t a hit at the box office but built a devoted cult following and, while it pokes fun at fairytales, it felt like an affectionate tribute and still had a magic of its own.

The real groundwork for the genre’s ultimate destruction came with Robin Williams’ motormouthed genie in Aladdin five years later. The classic Disney comedy sidekick had been around for many years, but it wasn’t until his livewire performance put a jolt into the tired House of Mouse formula that the postmodern take on a classic tale really took hold. Although the film was ostensibly set in ancient Arabia, the genie was a burst of irreverent, anachronistic energy, riffing on cars, quiz shows and submarines while firing off impressions of Groucho Marx and Jack Nicholson.

Then in 2001 came DreamWorks’ Shrek. Based on William Steig’s children’s book, the project had been in development for several years, with names like Nicolas Cage and Chris Farley attached as the grumpy ogre, before the part eventually fell to Mike Myers. He trotted out his favourite Scor-tesh accent and Eddie Murphy tried to out-do the irreverence as his wisecracking donkey sidekick. Indeed, it felt like a movie entirely populated by comedy sidekicks and its approach initially seemed fresh, putting a spin on a variety of fairytale characters ranging from the Gingerbread Man to Puss in Boots (who got his own movie spinoff). Shrek was a massive hit and the concept of an earnest fairytale was pretty much lost…

Continue reading “Three Wishes for Cinderella (Tři oříšky pro Popelku) – Václav Vorlíček, 1973”