Czech film reviews in English – Page 7

Something Different (O něčem jiném) — Věra Chytilová, 1963

Written and directed by avant-garde filmmaker Věra Chytilová (Daisies, The Inheritance or Fuckoffguysgoodday), Something Different tells the story of the lives of two women: Eva Bosáková, a real-life gymnast training for her final performance, and Vera (Vera Uzelacová), a fictional housewife who lives an unfulfilled life. The film presents a nuanced look into the worlds of both women as they face the daily challenges that life brings upon them.

The opening sequence features Eva performing her routine until it cuts away to reveal that Vera’s son is watching it on TV. The film then intercuts between the lives of both women as they go about their everyday life. While one might assume that Eva’s life might be more interesting than Vera’s, I found myself equally invested in both stories. A lot of Eva’s days are spent practising for her final performance, while Vera’s days are consumed by housework as she raises her son at the same time—an equally exhausting balancing act.

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Eva strives for perfection but is sometimes unsure of her own abilities, while Vera is unsatisfied with her marriage and has a hard time taking care of her hyperactive son. Her husband barely pays any attention to her and would rather spend his time reading the newspaper. He tells her he does this because he can only read it after work, to which Vera replies, “my work is never done.” He also says he’s saving money for a car, which means Vera can’t buy anything for herself. This is frustrating for her as she also spends her days working, but never receives anything in return. This leads to her having an affair with a man she meets while buying groceries…

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Barefoot (Po strništi bos) – Jan Svěrák, 2017

Barefoot 2017 Sverak

Prequels are, by and large, one of the most pointless things in cinema. By their very nature they lack much dramatic thrust, as we already know where the story will end up. Over the past few decades, prequels have also become synonymous with major studios cashing in on profitable intellectual properties, often ruining the mystique of the original film or films. The very word “prequel” is capable of setting a certain type of Star Wars fan into a fit of rage…

In a very modest field, Barefoot (Po strništi bos) stands out as one of the better prequels available for your delectation. At first it seems like a slender prospect, arriving a full 26 years after Zdeněk and Jan Svěrák’s Oscar-nominated crowdpleaser, The Elementary School (Obecná škola). Delightful though that movie was, it favoured nostalgic, anecdotal comedy and doesn’t seem like the obvious choice for prequel treatment.

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However, if you ever wondered what the kid in The Elementary School got up to during the death throes of World War II – that is, literally a year or two before the events of the original movie – then Barefoot will answer all your burning questions…

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The Ear (Ucho) — Karel Kachyňa, 1970/1989

Like many films that were considered problematic by the communist regime in Czechoslovakia at their time of release, Karel Kachyňa’s The Ear was banned until 1989. Unlike the surreal elements found in Case for a Rookie Hangman, this film takes a more grounded approach to explore the fears and anxieties experienced by the country’s inhabitants. The film centres around a married couple trying to get through a night of desperation after they suspect their home might be under surveillance by the government.

The film begins with the couple coming home from an evening at an official dinner party. The husband, Ludvík (Radoslav Brzobohatý), is a reserved government official, and his wife, Anna (Jiřina Bohdalová), is an outspoken alcoholic. From their first interactions, we can already get a general idea of their relationship. You get the sense that they’ve been at odds for a while now, seeing as how they constantly bicker and throw verbal jabs at each other every chance they get.

The Ear Blu Ray

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Once they arrive at the entrance, they notice that they’ve misplaced the keys to the gate and find other means of getting inside, only to realize that the doors had been open and there’s been a power outage. Ludvík also notices some strange men lurking around the garden and a car parked on the other side of the street. This causes him to become more paranoid at the thought that he might be targeted by the government…

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3 Seasons in Hell (3 Sezony V Pelke) – Tomás Masín, 2009

Hadek in 3 Seasons in He'll

My curriculum was packed with boring subjects when I was at school. Maths was always a chore, chemistry was just soul-crushing, and history was the biggest snooze. For three years we sat in the same brown dusty classroom full of brown dusty books, listening to the teacher drone on. He was a pale gingery man who resembled the Gestapo agent in Raiders of the Lost Ark, and always wore a brown suit that looked like it was tailored from a rest home carpet. We only ever seemed to study World War I and II, without ever finding out any of the larger context surrounding the conflicts.

It was only after I left school and started reading up on things by myself that I came to wonder: how does anyone make a subject like World War II boring? On paper, it’s like the synopsis of the greatest, most exciting war movie ever made. I realized that it wasn’t the subject that was boring, it was the teacher. It’s the way you tell ’em, I suppose.

On paper, 3 Seasons in Hell sounds like pretty suspenseful stuff. Opening in 1947 Czechoslovakia, we follow a young nonconformist poet who falls in with a Bohemian crowd, just as the Communist regime seizes control of the country and starts clamping down on intellectual and subversive activities that don’t suit their agenda. Our arrogant young hero soon finds himself in increasing danger…

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

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!

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The Inheritance or You Shouldn’t Say That (Dědictví aneb Kurva se neříká) – Robert Sedláček, 2014

Bolek Polivka as Bohus

**You can watch The Inheritance or You Shouldn’t Say That (Dědictví aneb Kurva se neříká) right HERE with our View on Demand partner Eyelet**

Later this year, Keanu Reeves and Alex Winter will appear in Bill & Ted Face the Music, almost thirty years after their last outing as the airheaded rockers, Wild Stallyns. Reeves can seemingly do no wrong these days but the omens and the trailer don’t look good.

Alex Winter may have had a quiet couple of decades career-wise, but Reeves has become a cultural icon, the internet’s favourite celebrity nice guy, and has been kicking ass well into his fifties and making it look easy in the John Wick movies. So why does he need to give a belated victory lap as the character that helped make him a huge star? It rarely fares well.

Take a look at Dumb or Dumber To. Or rather, don’t. Jim Carrey and Jeff Daniels had built well-respected, award-winning careers before they put another shrimp on the barbie and reprised their roles as the childish, dim-witted Lloyd Christmas and Harry Dunne. It worked when they were younger, but seeing two middle-aged men behave in such a way was just pathetic, and even a little bit creepy…

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Diamonds of the night (Démanty noci) — Jan Němec, 1964

Based on Arnošt Lustig’s novel Darkness Has No Shadow, Jan Němec’s first full-length feature, Diamonds of the Night, is a visceral experience that shouldn’t be missed. Right from the jump, the film hooks you with an incredible sequence that follows two young boys escaping a train heading towards a concentration camp. The whole scene is shot in one continuous take as the camera closes in to capture the desperation on their faces. By this point, it’s clear that the goal is to put the viewer in the state of mind of these characters as they struggle to survive.

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This is one of those films that focuses more on providing an immersive experience for the viewers, rather than telling a straightforward narrative. And that’s apparent in its presentation. Once the boys make their way into the woods, the film intercuts between their current situation and visions of life before the war. These memories belong to Ladislav Jánsky’s character, whose perspective is the one we follow throughout the film. The scenes are made up of simple moments that seem like distant memories compared to the situation he currently finds himself in. We see images of kids sledging down a hill while laughing, mundane details of people going about their day, and the relationship he shared with his girlfriend. Now, he just wants to survive and return to the life he once knew…

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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.

Three Wishes for Cinderella Blu Ray

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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…

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In Context: Jára Cimrman Lying, Sleeping (Jára Cimrman ležící, spící) – Ladislav Smoljak, 1983

Zdenek Sverak as Jara Cimrman

How do you even start with a personage the size of Jára Cimrman? I feel like I’m describing Leonardo da Vinci using nothing but Morse code printed on popsicle sticks. I’d love to just talk about the film, Jára Cimrman Lying, Sleeping but without context, it would make no sense to you. So I’ll try to give you a sliver of a fragment of an introduction to the best playwright, philosopher, skier, and teacher – Jára Cimrman.

Jára Cimrman: Cultural Icon

This man is the closest thing to a national treasure the Czechs have, and he is still very much alive in the cultural space: his more than 15 plays are still running, he has a museum in Prague’s watchtower, Petřín, and he even has an asteroid named after him (7796 Járacimrman). His biggest peak was probably the 2005 Greatest Czech competition (which happened in reaction to the 100 Greatest Britons show in the UK and across Europe). But Cimrman didn’t make it in the end. He was unrightfully disqualified for being fictional…

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Cutting it Short (Postřižiny) – Jiří Menzel, 1980

Jiri Menzel Cutting it Short

It has taken two years to reach this point, but this article marks the 50th post on Czech Film Review. Since the first Czech film I saw was Jiří Menzel’s Closely Watched Trains, I thought it would be appropriate to mark the occasion by talking about another one of his films, Cutting it Short.

It’s yet another idyllic shaggy dog story based on a Bohumil Hrabal work, a rose-tinted yet ultimately kinky tale about the writer’s parents when they conceived the future literary legend. Set around the end of the First World War and shortly before the establishment of the first Czechoslovak Republic, it is a typically Menzelian joint lovingly satirizing small-town life, populated by a familiar bunch of cranks and oddballs.

Postriziny DVD

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The story centres on Francin (Jiří Schmitzer), an earnest accountant who has been hired by the local brewery to get their books in order and take the business to the next level. He sets up home in a spacious apartment on the brewery premises with his free-spirited wife Maryška (Magdaléna Vášáryová, who played the eponymous Marketa Lazarová). She knows the way to a Czech guy’s heart, currying favour with the board of directors by slaughtering a pig and laying on a copious meat feast…

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