gudaulin

Zbyněk Brynych was the type of director who relied more on sheer willpower than on the weight of his talent, and for the greater part of his career, he could be considered more of a diligent routine worker than a creative artist (regardless of his involvement during the normalization period, when he took on more than necessary). Nevertheless, he left behind several films in the 60s that are undoubtedly worth watching, fitting into the 60s as the peak phase of Czechoslovak cinema. Not to say that the film about the Theresienstadt concentration camp doesn't have its weaker moments, suffering at times from unnecessary loss of pace or logical inconsistencies (would the camp commander really embark on a futile battle against resistance members with just one soldier?), but on the other hand, the atmosphere of the ghetto and the gloomy anticipation of transport to the Auschwitz hell are impressively portrayed. At a time when, according to online discussions, there is a growing desire to acquire some more refined concentration camp films again, it wouldn't hurt to remind ourselves of what it would actually mean in practice (including the dry daily report of 300 natural deaths per day). Personally, I consider Transport from Paradise to be Brynych's best piece of work. Some mixed comments and ratings are paradoxically a consequence of Brynych's attempt to avoid overly cheap and audience-friendly communication. This drama simply demands more from the viewer than superficial attention and a passive attitude. It tries (admittedly, not always with ideal results) to speak with a new film language and seek new perspectives, unlike what was customary in the 50s. Last but not least, this film is a showcase of young actors' faces, who in some cases we only know from stories and others only as considerably older gentlemen. Overall impression: 75%.

The setting in which the story takes place is intimately familiar to experienced cinephiles from the older thriller Death Wish starring Charles Bronson as an uncompromising avenger in the lead role, cleaning the streets of the city and saving taxpayers money on the judicial and prison system. Jodie Foster is a much more versatile character actress with a significantly broader range than Bronson. The Brave One also has a somewhat more complicated screenplay than the former, which soon became a tiresome monotonous series of street executions. On the other hand, the film's problematic moral dimension, where the main character, in the name of her pain, fear, and questionable right to satisfaction, embodies the powers of a prosecutor, judge, and executioner, is indeed present here, and it is only a pity that the screenwriter and director did not find the courage to lead their heroine to a bitter end. Overall impression: 60%.

Based on the quality of filmmaking skills, this documentary does not impress and can be compared to warning consumer journalism. However, its educational and social significance far outweighs the unremarkable artistic qualities of the film. The hidden camera captures the harsh pressure on senior citizens during demonstration events and showcases a parade of human naivety, herd mentality, ignorance, and consumer desires on one hand, and on the other, ruthlessness, manipulation, rudeness, lies, and intimidation. The best defense is to ignore such actions and use common sense and basic taste. The film indirectly corrects the persistently maintained misconception that retirees are the poorest and socially most vulnerable segment of society. If that were the case, then similar questionable companies with their aggressive marketing wouldn't exist, and filmmakers would have nothing to film. In reality, the socially most vulnerable are families with multiple children and disabled individuals. The biggest problem for retirees, at least until now, is not the level of pensions and economic background, but loneliness and social isolation. Overall impression: 65%.

The Wolf of Wall Street has rightfully become one of the most important events of the season. It accurately captures the atmosphere of a time marked by an economic crisis and surprises with the realization that not everyone tightens their belts equally during times of need and that human justice falls short when it comes to certain assholes, whose rhinoceros hides are evidently impenetrable. If nothing else, we will take revenge on them on the silver screen. The Wolf of Wall Street is reminiscent of a wild party, from which, aside from the exhilarating feeling of tasting forbidden fruit and crossing the boundaries of socially acceptable behavior, you will likely remember only a few shocking escapades and excesses after a few days. The film depicts a series of parties, revelry, drug trips, and an insatiable desire for wealth in a somewhat stereotypical and thus tiresome manner. It tells the story of a group of brokers who do not hesitate to destroy the lives of naive clients with offers of worthless stocks from obscure companies. The film is reminiscent of Lord of War and Trainspotting with its absence of moral dimension and final catharsis. In all three cases, we are dealing with scoundrels who ultimately succeed and get away with it, despite minor setbacks and losses. Scorsese proves that old age does not necessarily mean a loss of connection with modern cinema. Quite the opposite, as the same can be said for him as for vintage wines - the older, the better. He rivals Fincher in camera skills, enjoys crowd scenes, and effortlessly handles action sequences, such as sinking a yacht in a stormy sea. He varies the rhythm and slows down the shots, and a single detail can reveal more about his characters than any other director could describe in an entire film. A separate chapter is dedicated to DiCaprio's performance in the lead role. Villains are always more rewarding for actors. DiCaprio revels in the role of a cynical, unscrupulous businessman, delightfully showcasing his boundless hedonism, narcissism, and manipulativeness. It is said that when actors enjoy filming, the audience cries over their paychecks, and vice versa. This is clearly not the case here. Both DiCaprio and Jonah Hill clearly enjoyed the overdose scene, which is brilliantly comical and will likely become a revered classic among film fans. DiCaprio promises, seduces, bribes, and threatens, and above all, presents a study of a man obsessed with himself and navigating an endless drug trip. Despite the aforementioned, I have to give it the highest rating. The Wolf of Wall Street is like a hyperactive, self-centered child that persistently demands attention. Its coolness eventually becomes tiresome. Paradoxically, I realized that I would have enjoyed the film more with a shorter runtime and fewer gags. Overall impression: 85%.

Only a few hours remain until midnight on New Year's Eve, and the nightlife in Paris is picking up speed. While alcohol levels are rising elsewhere, tension is building at the police station. Two men against each other, two completely different goals. One asks questions and relentlessly pushes his opponent into a corner. The other evades, dodges, and spins. Two dead children force the police to work even during somewhat unusual times. It is a matter of time before the witness becomes the accused... How long will it take for him to realize that he won't escape from this trap? The Grilling is much closer to a psychological drama than a classic crime story. The overwhelming majority of the time takes place indoors, and polished dialogues take the lead. The drama relies on the names and acting of three famous film stars of its time and I would say it also relies on the screenplay, but a flawlessly functioning story leads to a logical short circuit in the end, which unfortunately diminishes the impact of the film and undermines the point. As interesting and compelling as its idea is, it wouldn't work like this in reality. Overall impression: 70%.

I consider Steven Spielberg to be one of the best storytellers in the world of film, regardless of how many stars I give to Schindler's List. He is an excellent craftsman and storyteller. Some voices in the community of film fans sometimes argue that he is too commercial and that they only take Schindler's List or Saving Private Ryan seriously from his work. I have the exact opposite feeling. Spielberg has always told fairy tales, whether for children or adults, and they are perfectly suited for relaxation and genre projects. Sci-fi, adventure stories, or fantasy from his workshop are usually treats. It's worse when he tries to enter the realm of high art and wants to do timeless, more serious work. Spielberg still uses similar or identical means as in his relaxation projects. In Schindler's List, several quite serious things bother me. First, the whole story is based on an artificially created myth, and even though its core is true, it ultimately sounds like Radio Yerevan reports. The facts are upside down here. Oskar Schindler was an adventurer, a Nazi not out of conviction but based on hard calculation, a manipulator, and a ruthless exploiter. Much negative can be said about him, and it would be much more accurate to despise and condemn him rather than admire him. Historical films usually approach the interpretation of historical facts languidly and only take from them what they need to achieve their goal or a partial effect. And usually, if it concerns distant history, viewers don't mind – except for historians and fans of historical science. But here it is so striking and concerns such a sensitive topic that it fundamentally bothers me. Schindler's real role has already been mapped by historians and completely contradicts everything Spielberg portrays in his film. In the labor camp, prisoners were mainly selected from the ranks of the Jewish police, collaborators, or those who had to pay. The conditions in the camp were very harsh, and its only advantage was that it was not systematically exterminationist, meaning that there were no gas chambers. Schindler was completely indifferent to the prisoners, and all he cared about was how to monetize their slave labor. By the way, neither Oskar Schindler nor anyone else saved any human lives. For those who were taken to the Protectorate, other prisoners had to be selected for liquidation… Another problem is Spielberg's typical squeezing of emotions, where possible, emotional manipulation, moving, blackmailing, and behaving like a typical blockbuster producer. Despite all this, he managed to convey the horrors of the Holocaust to the widest audience at a time when many decades had passed since the events and eyewitnesses were dying out, which is not insignificant. At the very least, the scene of the ghetto liquidation belongs among the memorable film moments. Overall impression: 60%.

In its time, this film represented a significant milestone in testing the boundaries of artistic and social freedom in Czechoslovakia. Seemingly a popular farce about a disillusioned drunken saleswoman, two horny men, and a failed attempt at rape, it is full of clever innuendos, references, and jokes at the expense of the regime at that time. A slimy party official who won't leave any woman alone, two members of the secret police who can twist the law as needed and aren't concerned with human rights, a wedding without a groom, lots of punchlines, and comedic characters together create an entertaining cocktail that doesn't lose its charm even years later. Along with Higher Principle, this film is probably the highest quality part of Krejčík's filmography. The presence of Pucholt and Vostrčil reminds one of the works of Miloš Forman, or at least both directors share their ability to use the awkwardness of ordinary people and make fun of their imperfections. Overall impression: 90%.

Sexmission arrived in Czech cinemas before Gorbachev came to power and long before his perestroika helped loosen the cultural atmosphere here as well. The granting of permits was somewhat hesitant and with great reluctance from the state authorities, and more significant changes came only in the last two years of the regime's existence. It is now difficult to explain what a revival Sexmission represented at that time in Czech cinema. In the then-official prudery, the decent nudity of Polish beauties was a geyser of eroticism, which now seems humorous. Above all, the audience easily deciphered the film's screenplay as a parable of a real socialist dictatorship. Getting tickets for Sexmission was a big challenge in the mid-80s, and if you didn't see it, then you didn't exist. Those tempted by the title promising a spicy spectacle will be disappointed, but as a comedy, it has not lost any of its charm and can be considered a sharp satire on radical feminism. Jerzy Stuhr, in the role of a plebeian male chauvinist, gained immense popularity among the Czech audience, and the same was true in Poland. Overall impression: 90%.

Cirque Berzerk fortunately has nothing in common with Czech circus gold diggers. It is in a different league and adopts modern techniques of the so-called new circus - that is, it combines classic juggling, clowning, and acrobatics with dance, pantomime, and singing. Despite the performers' high commitment, the quality of the recording did not reach the level of other circus performances. The camera and editing appear unprofessional and disruptive, they are extremely insensitive to the happening in the ring - where it is necessary to capture things in their entirety, the camera usually focuses on a detail, and vice versa. The editing at times resembles a rock music video, not the work of artists. Overall impression: 60%.

Letters to Santa is pure, crystal-clear kitsch that needs to be taken with the necessary perspective and combined with the atmosphere of Christmas, where love, friendship, understanding, and forgiveness organically belong. A dysfunctional family finds their way back to each other on Christmas Eve, two lonely people fall in love, an orphan finds a new family, and an irresponsible dandy takes on his paternal and partnership responsibilities. Everything fits together perfectly, and in the end, everyone is happy. Letters to Santa is actually a cheap Central European version of Love Actually without the overpaid international stars and celebrities. By version I mean not in terms of literal copying of the plot, but of style. Perhaps it relies a bit more on sentiment and the presence of children. Love Actually, in addition, seemed to me more comically lively. It has nothing to do with real life, but the film has a sense of perspective and comfort, so I don't mind the naivety and oversweetness. Watch this film instead of having a bowl of Christmas sweets, and if nothing else, at least you won't gain weight... Overall impression: 75%.