Banned for over twenty years and only released after the Velvet Revolution, Jiří Menzel’s Larks on a String is a film out of time. It was one of the director’s more overtly critical works in the ’60s, openly sarcastic about the Communist regime in Czechoslovakia. As a result, it endured censure and became a valuable relic of the grim post-Prague Spring era, lacking the timelessness of Menzel’s more gently comedic films of the period…
I love old dark house movies, to the point where whenever a discussion comes up with family or friends about the prospect of building a house, I can’t help railroading the conversation into talk of secret passages, secret doors (bookcase or fireplace, I’m not picky), and of course large paintings where I can remove the portrait’s eyes and peek into the room below.
Due to this, Oldřich Lipský’s silly-funny, endlessly inventive spoof Tajemství hradu v Karpatech was a source of absolute delight for me. It’s basically like a Czech version of Murder by Death, a star-studded mystery set in – yes, an old dark house – peppered with jokes so hoary and dumb that they go all the way around the dial to becoming hilarious again. What The Mysterious Castle has over Neil Simon’s groaner-fest and other pastiches of the genre is some genuinely inspired proto-steampunk design work by legendary surrealist filmmaker Jan Švankmajer, and a visual style all of its own…
Unlike where I come from in England, we tend to get long hot summers here in the Czech Republic. The good weather sets in towards the end of April and usually runs through until late September. It’s my ninth summer here now and each year, sometime around late August, when the nights are drawing in and there’s a breath of autumn on the breeze, I’m always struck by a bittersweet feeling. It’s a sense of longing and loss and melancholy, a sensation that has intensified as the years ticked down towards my 40th birthday. Somewhere inside I sigh and think, “Well, that’s another year over.” Followed by a nasty little whisper at the back of my mind, “How many good summers have you got left?”
That bittersweet feeling is captured so beautifully by Jiří Menzel’s Rozmarné Léto. I first saw it very early after we arrived to live in the Czech Republic, and initially I was quite dismissive of it. I hadn’t adjusted to the rhythm and pace of Czech films and to me it felt like a pilot for a sitcom, mainly because of its surface similarity to the long running British comedy series, Last of the Summer Wine, which followed the shenanigans of three retired blokes in a small town in northern England.
Rozmarné Léto is a perennial favourite in the Czech Republic. It is Menzel’s follow up to his Oscar nominated Ostře Sledované Vlaky (Closely Watched Trains), adapted from the novel by Vladislav Vančura. It’s a gentle yet neatly observed bedroom face about three old friends whose comfortable boredom is disrupted when a travelling acrobat rolls into town, and each one’s trousers are set a-rustling by his beautiful young assistant.
Living here in Brno, Czech Republic, I’ve spoken to many other expats over the years about Czech film. Most don’t watch them – sure, they’ve seen a few of the biggies, but generally people don’t bother unless they have to. They tend to find them slow, boring and difficult to engage with, and Czech humour doesn’t seem to translate well on film – to those not on the right wavelength (and I include myself in that category), it tends to be a little too bitter and deadpan, or too broad and nostalgic.
As a Brit, the former usually works better for me, as our own humour tends toward the straight-faced and understated, whereas the broadest excesses of Czech comedy reminds me more of the bawdiness of our 70s sex farces.
The Elementary School (Obecná škola) is a sweet-natured coming-of-age tale set just after WWII, “after the Fascists have been defeated, and before the Communists have won.” It swings towards the broad and nostalgic end of the Czech comedy spectrum, but is a genuinely funny movie. Oscar winning director Jan Svěrák (Kolja) demonstrates a deft touch for slapstick and draws excellent comic performances from his small cast.