There can be no greater picture of contentment than a Czech guy standing with a beer in his hand, meat on the grill, and his feet in the grass on a summer’s day. Czechs rarely need an excuse to evacuate the towns and cities at the weekends in the summer and head out to the forests, lakes and hills, where many still own a vacation cottage. They genuinely seem to draw spiritual energy from contact with their nature, which stands in stark contrast to back home in Britain. For many urban-dwelling Brits, a trip to the countryside is something to be dutifully endured rather than enjoyed. This may be the reason that we have folk horror, and the Czechs have gentle folk comedies like Na samotě u lesa.
Zdeněk Svěrák (Kolya, Empties) plays Olda Lavička, head of a nice Prague family who are looking to buy their own country cottage. An eccentric acquaintance, Radim Zvon (Ladislav Smoljak, the man behind Jára Cimrman Lying, Sleeping in a colourful role) has taken up residence in a beautiful old mill. He points them in the direction of an elderly farmer, Mr Komárek (Josef Kemr – Marketa Lazarova), who may be willing to sell up and relocate to Slovakia to live with his son. He’s got a few loose ends to tie up first though, like selling his cow and sorting out the crops, so in the meantime, he agrees to rent the Lavičkas a room so they can stay whenever they like.
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Mr Komárek’s cottage is picturesquely ramshackle, with rotten floorboards and damp in the walls. Apart from the old man, the Lavičkas end up sharing the joint with his mischievous goat, some invasive chickens, a cow, a dog and its fleas (despite the locals’ insistence that dog fleas don’t bite humans). Olda is totally enthralled by every aspect of country living, and his inquisitive son and daughter settle in well, instinctively calling Mr Komárek “grandad”. Mrs Lavička is less enthused about cottage sharing with a strange old man and the total lack of mod cons, such as electricity. She also thinks they should be encouraging Mr Komárek to get his arse into gear and sell up so they can enjoy the cottage without him hanging around, rather than feeding him and keeping him company…
Continue reading “Seclusion Near a Forest (Na samotě u lesa) – Jiří Menzel, 1976”
“Truth isn’t truth!” – Rudy Giuliani
“You’re fake news!” – Donald Trump
“Our press secretary, Sean Spicer, gave alternative facts…” – Kellyanne Conway
I don’t wish to link every single movie I review to current events, but I was curious coming into Karel Zeman’s The Fabulous Baron Munchausen (Baron Prášil) to see how it would play in our post-truth world. Here is a beloved literary and cinematic character whose tall stories have enchanted people for over two centuries. But let’s face it, he’s a bullshitter, brazenly embellishing tales of his own amazing feats while deriding his rival as a fantasist – would Munchausen seem so charming in a world where Donald Trump constantly does the same thing, albeit with much less elan? Nowadays our social media feeds are bombarded with stories of people who, not liking the facts, make up their own and then vociferously rage at their opponents as liars. Against this backdrop, can we listen to any more bullshit on our free time?
Thankfully yes, but I’ll come to that later.
Buy The Fabulous Baron Munchausen from Amazon HERE
Zeman starts by bringing the Munchausen tale right up to date with a moon landing, and astronaut Tony (Rudolf Jelínek) discovers that he’s not the first to arrive – footprints lead to an old gramophone and a bullet-shaped capsule straight out of Jules Verne’s From Earth to the Moon. He’s greeted by some gentlemen in 18th century clobber who don’t seem phased by lack of oxygen, along with Cyrano de Bergerac and Baron Munchausen. They mistake Tony for an inhabitant of the moon, and the Baron decides to take him to earth to show him how things are done down there. Travelling in a galleon drawn by flying horses, they splash down in 18th century Constantinople, where their fanciful journey begins…
Continue reading “The Fabulous Baron Munchausen (Baron Prášil) – Karel Zeman, 1961”
You can watch Cosy Dens (Pelíšky) right HERE with our View on Demand partners Eyelet.
Last year when I was trying to figure out which movies made Czechs laugh the most, I asked 100 people to name their favourite Czech comedy. I was expecting the perennial favourite Pelíšky (Cosy Dens) to come up a few times, but it absolutely romped home with 25% of the vote.
I guess it’s not hard to see why. Early in my days of watching and reviewing Czech films it was my first truly five star pick, an hugely satisfying tragicomedy set in the months prior to the Prague Spring in 1968. Offering laughs and robust family drama, it also features a gallery of wonderful performances from a formidable cast of Czech and Slovak stars.
The picture opens in the winter of ’67, and lovelorn teenager Michal Šebek (Michael Beran) wants to end it all. He is hopelessly in love with his upstairs neighbour Jindřiška (Kristýna Nováková). The trouble is, she is going out with his much cooler mate Elien (Ondřej Brousek), who gets all the latest movies, music and fashion from his parents living in the States.
To make matters worse, her father, Mr Kraus (Jiří Kodet) is a rabid anti-communist war hero who often has flaming rows with Michal’s dad. Mr Šebek (Miroslav Donutil, The Inheritance or Fuckoffguysgoodday) is a staunch supporter of the Communist government, an army officer so petty and regimented that he types out a weekly menu for his family…
Continue reading “Cosy Dens (Pelíšky) – Jan Hřebejk, 1999”
Jiří Menzel’s Closely Watched Trains (Ostře sledované vlaky) is probably one of the best known Czech films beyond the country’s borders, having won the Oscar for Best Foreign Language Film in 1968. Adapted from Bohumil Hrabal’s slender novel, it was also the first Czech movie I saw by a long way, years before the idea of even visiting the country crossed my mind, let alone immigrating here.
I was pretty underwhelmed on first viewing – it was when I was first getting heavily into film, after the treble-whammy of Pulp Fiction, Seven and Trainspotting first made me conscious that there was a director behind the camera making decisions resulting in the movie I saw up there on the big screen.
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I could handle the nonlinear structure of QT’s early efforts, but struggled a bit with the rhythm and pace of my first Czech movie – having been brought up on a diet of largely British and American films, usually with a distinct beginning, middle and end, Closely Watched Trains seemed a lot like all middle with a little bit of end.
Continue reading “Closely Watched Trains (Ostře sledované vlaky) – Jiří Menzel, 1966”