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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969)
4xDVD9 | VIDEO_TS | NTSC 4:3 | 513 mins | Total: 29,13 Gb
Audio: Chezh AC3 1.0 @ 384 Kbps | Subtitles: English
Genre: Art-house
4xDVD9 | VIDEO_TS | NTSC 4:3 | 513 mins | Total: 29,13 Gb
Audio: Chezh AC3 1.0 @ 384 Kbps | Subtitles: English
Genre: Art-house
Of all the cinematic New Waves that broke over the world in the 1960s, the one in Czechoslovakia was among the most fruitful, fascinating, and radical. With a wicked sense of humor and a healthy streak of surrealism, a group of fearless directors - including eventual Oscar winners Miloš Forman and Ján Kadár - began to use film to speak out about the hypocrisy and absurdity of the Communist state. A defining work was the 1966 omnibus film Pearls of the Deep, which introduced five of the movement’s essential voices: Věra Chytilová, Jaromil Jireš, Jiří Menzel, Jan Němec, and Evald Schorm. This series presents that title, along with five other crucial works that followed close on its heels, one from each of those filmmakers - some dazzlingly experimental, some arrestingly realistic, all singular expressions from a remarkable time and place.
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Pearls of the Deep (1966)
107 mins | Color, Black and White | 1.33:1 | 6,68 Gb
107 mins | Color, Black and White | 1.33:1 | 6,68 Gb
A manifesto of sorts for the Czech New Wave, this five-part anthology shows off the breadth of expression and the versatility of the movement’s directors. Based on stories by the legendary writer Bohumil Hrabal, the shorts range from the surreally chilling to the caustically observant to the casually romantic, but all have a cutting, wily view of the world.
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Though the New Wave filmmakers stirred the pot by focusing on stories of individuals rather than the collective, it was a collective effort that served as an unofficial manifesto for the movement, and which also kicks off this Eclipse collection. In “Pearls of the Deep” (1966), five directors each adapated separate short stories by the celebrated Czech author Bohumil Hrabal whose absurdist tales about everyday life in Czechoslovakia were perfect material for the aesthetic and ideological sensibilities of the budding New Wavers.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/1c/f3/0021f31c_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Jiri Menzel (who hit Oscar gold later in the year with his debut feature “Closely Watched Trains”) starts the omnibus with a story that cuts from a real-life motorcycle race to a group of onlookers who recount fondly all the various accidents and injuries experienced by their favorite racers, proving that in all cultures that one and only reason to watch men sitting in or on vehicles is the hope that they will crash. Evald Schorm, perhaps the least known of the filmmakers in this set, styles a beautiful, hilarious and occasional dark story of an outsider artist who is approached in his home by a pair of insurance salesmen. Unprepared for the mad(dening) designs inside the artist's looking-glass home, they are overwhelmed and disoriented - as is the viewer in a most delightful manner. I found this segment to be the highlight of the film, and I was reminded a bit of the more anarchic elements of Brian De Palma's early films such as “Greetings” and “Hi, Mom!” Jaromil Jires, also a contender for least-known director here, finishes off with a more conventional and overtly political story about a young Czech man who has a fling with a teenage Gypsy girl that ends in an indeterminate state, and with a final shot that isn't exactly poster material. Nemec and Chytilova also contribute segments which are, respectively, bittersweet and utterly baffling.
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Daisies (1966) + A Report on the Party and the Guests (1966)
76 mins + 70 mins | Color / Black and White | 1.33:1 | 7,94 Gb
76 mins + 70 mins | Color / Black and White | 1.33:1 | 7,94 Gb
Daisies - IMDB. Maybe the New Wave’s most anarchic entry, Věra Chytilová’s absurdist farce follows the misadventures of two brash young women. Believing the world to be “spoiled,” they embark on a series of pranks in which nothing—food, clothes, men, war—is taken seriously. Daisies is an aesthetically and politically adventurous film that’s widely considered one of the great works of feminist cinema.
A Report on the Party and the Guests - IMDB. In Jan Němec’s surreal fable, a picnic is rudely transformed into a lesson in political hierarchy when a handful of mysterious authority figures show up. This allegory about oppression and conformity was banned in its home country but became an international success after it premiered at the New York Film Festival.
“Daisies,” (1966) by Vera Chytilova, the only woman represented in the set (also the only woman in her class at FAMU), opts for the path of greatest resistance. Her two teenage protagonists, both named Marie (Jitka Cerhova and Ivana Karbanova), realize that the world is “spoiled” and decide they aren't going to play by its rules anymore. I will probably help nobody by describing it as “Celine and Julie Go Boating” meets “Fight Club,” so I won't. Instead, let's just say that the Maries blaze their own trail through a patriarchal society, spending most of their time leading on horny and foolish older men, and eating. Oh, do they eat, in scene after scene, and with increasingly poor manners (the men paying for the meals are hoping desperately to get laid, and forgive lapses in etiquette). The film culminates in a sequence in which the Maries sneak in early to a massive feast and decide to sample bits and pieces of every food item laid out on the sprawling table, and once they're full they fling the food at each other.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/42/f3/0021f342_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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It's difficult to describe the rest of the plot of “Daisies” because there isn't a coherent one. Chytilova strikes a surrealist chord from the opening scene and never changes her tune; in one scene, the women snip off their heads and other body parts before putting them back together. Forget about “Fight Club,” let's say “Un Chien Andalou” but, no, not that either.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/3f/f3/0021f33f_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Surrealism is also the operant term to describe Jan Nemec's “A Report on the Party and Guests” (1966). Though working a similar vibe as Chytilova, Nemec shows the other end of the power struggle, or rather the lack thereof. A group of picnickers is accosted by a passing party of unidentifiable eccentrics who won't grant them a moment's peace. They grab hold of them, coax them to walk into the woods, and order them to stand in a line or other seemingly random tasks: face this way, don't cross that line. Though no overt threat is made, the picnickers fall into order with shocking pliancy and are eager to laugh it all off when it's revealed to be “just a joke” on the part of a nearby patrician who is celebrating his birthday. At his party, of course, everyone assigned seating, and they go to great lengths to make sure they comply with the plan, apologizing profusely for any inconveniences their bumbling might cause.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/3d/f3/0021f33d_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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An air of menace overhangs the proceedings, always dangling the possibility that we could be retiring to the “Salo” estate at any time, but the threats remain largely unstated, which is Nemec's point. We're all conformists at heart, or at least most of us are (one character decides to leave the party thus causing… a problem), and all it takes is the appearance of power (that sexy, sexy power) to get the majority to fall into line. I didn't cotton to this film until I had time to think about it afterward – now I think it's some kind of masterpiece.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/3e/f3/0021f33e_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Unsurprisingly, both films wound up being censored. Though a significant liberalization of media enabled the Czech New Wave filmmakers to get their rabble-rousing films made in the first place, threats to the social order were still not going to make it to the big screen. At least not in Czechoslovakia. The government was content to export their films for the international festival circuit to show off the artistic freedoms in the country.
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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The Return of the Prodigal Son (1967)
103 mins | Black and White | 1.33:1 | 6,41 Gb
103 mins | Black and White | 1.33:1 | 6,41 Gb
Evald Schorm was one of the most politically outspoken of the Czech New Wave filmmakers. This raw psychological drama about an engineer unable to adjust to the world around him following his suicide attempt is at heart a scathing portrait of social alienation and moral compromise.
Return of the Prodigal Son (1967), an exhilarating, angry film about an engineer, Jan (Jan Kacer), trying to find his way back into the world of the living after attempting suicide. Taking place both inside the mental hospital where he’s recuperating and outside in “normal” society, to which he routinely escapes, the film is a devastating articulation of depression brought on by vague, free-floating social anxieties and disappointments. In trying to readjust—to work, to friends, and most importantly to life with his similarly neurotic wife, Jana (Jana Brejchová), and very young daughter—Jan finds that to live happily in this world one has to negotiate daily with one’s morality; late in the film, when he visits his office during an extended leave from the hospital, his boss even lectures him on the importance of compromise.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/50/f3/0021f350_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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There’s a humane core to Return of the Prodigal Son that saves it from despair. Rather than making everyone other than Jan a fool, Schorm extends enormous sympathy to a fascinating cast of supporting characters, all of them outcasts in their own way, including Jana, who combats her loneliness in Jan’s absence by taking a lover, Jiří (played by director Jiří Menzel); Olga (Dana Medrická), the sexually frustrated wife of the head doctor, who takes a liking to Jan; and Jan’s hospital roommate, Zdenek (Jiří Kilián), an effeminate ballet dancer with whom Jan feels an artistic and spiritual kinship.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/51/f3/0021f351_medium.jpeg)
Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Schorm never compromised his beliefs after the 1968 Soviet invasion; he refused to make films that acceded to the aesthetic and ideological demands of the cultural police who reinstituted the socialist realism of the Stalinist era (one script he rejected, for example, was a simplistic glorification of the life of a Communist activist). Because of this, he was not allowed to work in Czechoslovakian cinema for nearly twenty years, focusing instead on theater. In 1988, he died shortly before the premiere of his comeback film, Killing with Kindness, a story about a mother-daughter relationship that features Return of the Prodigal Son’s Kacer and Brejchová in prominent roles.Film Essay, Criterion
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Capricious Summer (1968) + The Joke (1969)
76 mins + 81 mins | Color / Black and White | 1.33:1 | 8,09 Gb
76 mins + 81 mins | Color / Black and White | 1.33:1 | 8,09 Gb
Capricious Summer - IMDB. Two years after his worldwide hit Closely Watched Trains, Jiří Menzel directed this amusing idyll about three middle-aged men whose mellow summer is interrupted by the arrival of a circus performer and his beautiful assistant. A meditation on aging and sex, shot in warm, sun-dappled color, Capricious Summer is one of the New Wave’s loveliest reveries.
The Joke - IMDB. Jaromil Jireš’s brilliant adaptation of Milan Kundera’s novel tells the fragmentary tale of a man expelled from the Communist Party because of a political joke. After “rehabilitation” in the mines and a stint in prison, he hatches a revenge plot against the former friend who betrayed him. Made near the end of the Czech New Wave, The Joke is acknowledged as one of its greatest works.
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Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]
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Capricious Summer is a cheerful film; in Czechoslovakia, it was one of the least controversial and highest-grossing works of the New Wave. As it opens, three friends in their fifties—Antonín (Rudolf Hrušínský), the proprietor of a bathhouse; Roch (František Rehák), a canon; and Major Hugo (Vlastimil Brodský)—are frolicking away the day swimming in a placid pond, smoking cigars, and drinking wine. Representing business, religion, and the military, the men are philosophical sparring partners as much as bosom buddies, engaging in debates about spirituality, commerce, and war. If the film’s casual, sun-dappled charm recalls Jean Renoir’s A Day in the Country (1936), it’s probably no coincidence: Menzel has called that movie, which he saw at an impressionable age, his “first great film experience.”![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/5a/f3/0021f35a_medium.jpeg)
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A sudden rainstorm rousts the men from their diversions, a harbinger of change presaging the arrival in their village of the acrobat and magician Ernie (played by the amazingly dexterous Menzel himself, who shows off his tightrope-walking and handstanding skills). Ernie piques the erotic interest of Antonín’s wife, Katerina (Míla Myslíková), and the performer’s assistant, Anna (Jana Drchalová), piques that of all three men, who fumblingly attempt to seduce her (Antonín with a foot massage, Roch with poetry, Hugo with food). All these yearnings may as well be mere daydreams, however, as once the summer is over, Ernie and Anna get back in their caravan and leave the frustrated romantics to their own devices again.––––![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/59/f3/0021f359_medium.jpeg)
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The Joke doesn’t use the kind of experimental, dreamlike imagery that marks The Cry and Jireš’s later coming-of-age horror-fantasy film Valerie and Her Week of Wonders (1970). Its complexities are purely of the narrative sort: using a web of flashbacks to the late forties and early to mid fifties, it seeks to uncover the harsh realities of the Stalinist era through one man’s brutal experiences and subsequent pursuit of revenge. The main thread of the tale—a man is expelled from the Communist Party for a misunderstood written remark—was based on an incident from Kundera’s own life; his case involved an intercepted letter agreeing with a friend’s criticism of a Communist official. For The Joke’s protagonist, Ludvik (Josef Somr), it’s a postcard to his girlfriend, Markéta (Jaroslava Obermaierová), on which he has scrawled, “Optimism is the opium of mankind. A ‘healthy spirit’ stinks of stupidity. Long live Trotsky.”—intended as an amusing response on learning that she is studying the anti-Stalinist’s political philosophies in school. The result is not only excommunication; he is also sentenced to six years of “reeducation,” which consists of time in the army (a special battalion for enemies of the republic), prison, and the mines.![Eclipse Series 32: Pearls of the Czech New Wave (1966-1969) [ReUp]](https://pixhost.icu/avaxhome/56/f3/0021f356_medium.jpeg)
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The Joke has been praised as the definitive take on the Stalinist era in Czechoslovakia; Amos Vogel even called it “possibly the most shattering indictment of totalitarianism to come out of a Communist country.” After its disappearance from theaters, Jireš, wanting to keep working in Czechoslovakia, decided to stop fighting the authorities. In the 1970s, he focused on material that wouldn’t rock the boat, such as a tale of a World War II Czech resistance fighter, And Give My Love to the Swallows (1971). Jireš would continue directing fiction films, as well as television arts documentaries on ballet and opera, throughout the eighties and nineties. He died in 2001 at age sixty-five.Film Essay, Criterion
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Six of the most influential Czech New Wave films in a single set certainly fit in with Eclipse's mission to provide “simple, affordable editions” of “lost or overlooked” classic films. The set combines better-known works like “Daisies” with harder-to-find material such as “Capricious Summer” and “Return of the Prodigal Son.” The transfers aren't pristine, but they're all solid enough. This is definitely a mini-film education in a box.
All Credits goes to Original uploader.
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