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První veøejnoprávní
Èestmír Kopecký

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in co-production with
Slovak Film Institute, Cinemart and UPP

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presents

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25 from the Sixties,
or the Czechoslovak New Wave

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A documentary film
Part II

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Script

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Sound

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Editing

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Directors of Photography

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Production Manager

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Produced by

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Directed by

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In the mid-sixties the New Wave
briskly pours over to Slovakia.

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Despite the previous generation
of older FAMU graduates

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like Uher, Barabas, Solan, Holy,

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there come their followers
Havetta, Hanak, Jakubisko.

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We could also mention
Ivan Balada and Juraj Herz

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but they were Slovaks
who stayed in Czech

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and in Slovakia they made
several TV films,

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like Balada's Lady, or Herz's
Sweet Games of the Last Summer.

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Perhaps the most vigorous entry
among Slovakian filmmakers

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came with Juraj Jakubisko
and his film Crucial Years.

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Turn to me. Boom!

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A game. Life is a battlefield.

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The idea is not mine, it was
written by Jarda Ucen

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and Koliba production
gave it a thumb up.

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The original title was Runway.

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It was a story of two brothers,
a painter and a pilot,

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the pilot died during the Cuban
missile crisis and the silly painter

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who had painted nothing but
abstract pictures, realized

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that his art must serve
socialism and peace.

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Dohnal read it and said:
Man, what is the film about?

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I said: How can you not know?
See, this here is the beginning

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As a boy I came to a beehive
and we played with toy guns,

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and then I lived with this girl
who worked in an asylum

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and we'd fool around
with a stuffed arm

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So I kept telling him stuff
about every single scene

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and as I finished, he said:

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Alright, let's write down all
these things you've told me.

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And that's how Crucial Years
came to existence.

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It was an autobiography because
Jana was my girlfriend back then

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and we'd gone
through many things together.

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She was an artist
and had a gorgeous long neck.

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Once I was in a production room

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and there came Vlado Müller who
had just acted in The Hangman.

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He says: I've just finished
post dubbing, got a job for me?

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The production manager said:

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This young director is about
to make a new film, read it.

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And Müller called the next day
saying: I'm in.

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Then we had to cast the other
character and wanted Abrham.

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We rehearsed with him, he even
brought some girls to act there

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but right before shooting
he came and said:

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Juraj, I can't do this. I was
asked to act in Spring Waters

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and it's a unique opportunity.
It may be the role of my life.

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So there came Jirka Sykora,

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totally different from what
I'd had in mind; no hunk, see?

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Unlike the handsome Abrham
but then I thought why not?

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If you manage to make people
like this chubby guy, good on you,

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you're a director, right?
It might be a good film then.

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I thought it lacked
an explosion of light

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and back then I didn't
consider tones and shades.

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So, as we were shooting from
a tower next to a church

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sharply lit by the sun from behind
it created a huge light contrast

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and later during some screening
Juraj says: Where is the tower?

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All we could see was some ghost

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but it looked much better
than some realistic image.

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Hey, Jana

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You like me. You're crazy
about me, aren't you?

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These visual jokes come out
of a natural, full-bodied image.

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The 16mm film copied from
another 16mm film resulted

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in an image of a convincing verity
sunk in a grainy picture.

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Crucial Years were labeled
the worst camera work in Koliba

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however I knew this would
not only help me move forward

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but I also knew this was me.

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I'm also hard to see through.

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Helge belongs to the generation

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affected by a conference
in Banska Bystrica.

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His School for Fathers gained
some official acclaim

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but in Great Solitude he was
forced to change its ending.

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This concession affected all
his following film works

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and it was as late as in 1967
with his film Shame

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when he returned to the original
moral ground of School for Fathers.

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Shame is a story
of a corrupted communist

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and this topic preceded what
the whole 1968 year was about,

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about searching for a moral
responsibility for the 50's and on.

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What's going on?

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Comrade chairman, sorry
but this is an order.

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- What order? - An order to bring
Mr Kvasica to the hearing

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Did you hear it? What Mr? He's just
as much a comrade as you are.

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- Sorry, comrade chairman.
- So what's going on?

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Here's an order from the prosecutor.

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We started to prepare Shame
when I was a member of FITES

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and things went pretty smoothly.

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I can't remember any major obstacles
concerning the screenplay.

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It was quickly approved, quickly
shot but the story came too late.

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If it had been presented in 1967

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I wouldn't have wished to be
in shoes of the responsible director.

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A rape. I've got a daughter myself.
That man deserves to...

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But if you just knew
how hard he can work.

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The worst agricultural cooperative
around and all of a sudden...

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Go take a look at what he's
managed to conjure up.

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The only obstacle came from
the county council in Mikulov.

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They asked for a screenplay
which had never happened before.

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Although I had made two films
there they recommended me

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to shoot this film somewhere else

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because the story puts Mikulov
to shame and we should be careful

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because the symbolism of the Mikulov
castle resembles the Prague Castle.

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So I went to see them and eventually
we came to an agreement.

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This here is my old friend,
we worked at the same workbench.

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- He's got troubles getting a flat.
- But we don't allot flats.

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I know but how about
a public interest?

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There are strict rules concerning
a recognition of a public interest.

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- You think this comrade... Hromek.
- Comrade Hromek might fit in?

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What is this jack-in-office thing?
There are rules and there is a man.

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A director is responsible
for everything,

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he cannot make any excuses because
he can change circumstances.

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And I support a concept
of a political film.

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This is why I was attacked
by Vaclav Havel once...

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There was this magazine Kveten

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and once I discussed film there
with Vojtech Jasny,

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arguing about a form and a content.

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Jasny supported a form,
I supported a content

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When Vaclav Havel justly stepped in
with a disputative article claiming

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that my dull opinions don't deserve
discussions but I can't help myself.

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I think that film as an art must be
a part of the society I live in.

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- How old are you?
- 14. Didn't they tell you?

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I'm here to help you if you wish.
Are you feeling any pain?

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Speak, you dummy, when
this gentleman is talking to you.

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No, I don't feel any pain.

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Have you taken her to a doctor?

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Come on, doctors and police,
we never get anywhere else.

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If you'd kept quiet, you stupid cow
there'd be no fuss.

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I think Helge himself considered
Shame a part of a loose trilogy

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School for Fathers, Great Solitude
and Shame where even cast repeats.

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The interesting thing is that Helge
liked to cast Slovak actors,

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probably due to
their expressive acting

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but at the same time he never casted
non-actors for roles of countrymen.

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He always relied on traditional
directing methods and acting.

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So, did you see it?

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What the hell was that?
A baby. Who messed this up?

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Ask this engineer who reported.

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- Just tell him.
- I know it was lame.

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But if it weren't for this girl
justice would sleep on.

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You didn't want to hear
about any of the filth here.

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Eventually the film was critically
acclaimed, mainly abroad.

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I simply like that film because
it brought me back to my roots.

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Its intention is honest
and the film itself is pretty good.

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I gained a lot more self-esteem

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and as a director
I felt much better.

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That's why it felt so bad when
it cut me off my next filmmaking.

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Hey you!

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Show up!

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Why are you so quiet?

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I know you all.

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You wanna get rid of me? You wish.

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To get rid of me?

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This is me. Me!

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May I offer you a lift, Madam?

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- Why don't you take us.
- I don't have a licence.

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No way, it's illicit.

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Jiri Krejcik as well as other older
directors did not go the easy way.

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In the 40's he made
his first excellent films

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like A Week in the Quiet House,
or Conscience.

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During the 50's his works
sometimes lost its quality,

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like Frona, but in the late 50's
he is back on a track

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with Higher Principle, a film
which belongs to our treasures.

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From the mid-sixties he joined
the New Wave and made films like

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Boarding House for Single Gentlemen
a A Hard and Fast Marriage.

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I want you to answer
this important question:

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Is the railway here for people,
or is the railway here for people?

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Stop it, will you? Give me the ticket.

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- Hang on, he hasn't replied yet.
- Give it to me.

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Let's go, this is demeaning.

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I based this short film story very
loosely on a real event

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which took place in Ceska Trebova.
That was A Hard and Fast Marriage.

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I was raped.

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Raped? You're saying it
as if you've just bought candies.

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Any woman could say that. I mean,
every other woman could.

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When I mentioned the metamorphosis
of a social conscience,

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a conscience of people who were
in charge of cultural sphere,

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I meant dramaturgists like
Sebor, Bor, Novotny etc.

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Those were fantastic men,
very open to discussions.

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And when they intervened, they
were doing so very gently.

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What is it you have there? Let me see.

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Name Krejcik means there comes
a film which is not average.

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Of course I was to find out later on
our cooperation wouldn't be easy.

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See, Mr Krejcik is a choleric
person, just like me.

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And the final version of the script
must be adjusted so he feels secure

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because he never improvises
during the shooting itself,

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everything must be precisely
prepared in advance.

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So things would often get pretty
heated during the preproduction.

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- Well, that's a proper hole.
- He must have had bigger tongs.

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Drop the joking,
we all have the same tongs.

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A drink and drive case again.

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Sir, I am taking this driver's
license away from you.

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Me and Mr Krejcik went to a police
office and its head-chief told us:

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Gentlemen, we cannot ban it
but of course neither support it.

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I mean if you cast young Pucholt
for the role of the young cop

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we will have problems recruiting
new young policemen,

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we can offer them only a small wage

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plus if they see the Pucholt guy,
no one will ever join us.

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Calm down. We've got our means
that make even scholars calm down.

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Perlustration!

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I knew Krejcik would also
cast Kmoch's bandmaster

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who was an amazing natural talent,
as well as Iva Janzurova.

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Actually as luck would have it
the whole cast was a great crowd

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willing to help each other.

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See, officer, we can never win
over the crime with people like you.

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You'll save us, I bet.
Breath deep, come on.

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Officer, why don't people like us?

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I think Krejcik got to like
Forman's early films

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so he casted Hana Brejchova, Jana's
sister as the main character

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and I was to play the bride.

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He gathered us in the Film Club
and we started rehearsing.

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But Hana wasn't a professional,
she was overacting and shy

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so he had to recast her role.

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He took me to hairdresser,
had them dye my hair blond,

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we shot some camera tests over night
and I got the role of the raped Hana.

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- She seduced him!
- Why would she do it? Come on.

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00:22:26,640 --> 00:22:29,234
She seduced him and you back her up.

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What a nerve,
coming into our kitchen.

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- I can't leave her outside, come.
- What a slut.

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- What did you just say?
- She didn't mean it.

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Jesus, this is too much.

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I recommend you to tell your
daughter to be very careful

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when talking about seduction.

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Very careful!

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I love Krejcik because
he can get totally obsessed.

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He says: You've got to
munch on the cake piece by piece.

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He loves the expression "munch"
so I obey his instructions

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and it takes him to next scenes.

231
00:23:16,280 --> 00:23:24,631
I knew a garage foreman who gave
a woman his watch and 300 crowns

232
00:23:25,400 --> 00:23:30,474
and after he took it away from her
that bitch reported a rape.

233
00:23:30,640 --> 00:23:38,194
Sixties were basically about people
recognizing real values,

234
00:23:38,360 --> 00:23:45,357
accelerating truth and honesty.

235
00:23:45,520 --> 00:23:55,031
Most of the films were critical but
at the same time they had a vision.

236
00:23:55,200 --> 00:24:00,194
No matter how harsh things they
described, there was always hope

237
00:24:00,360 --> 00:24:03,875
because there was a hope
inside the filmmaker himself.

238
00:24:04,280 --> 00:24:08,159
In this special moment I am sure
you want to thank all those people

239
00:24:08,320 --> 00:24:12,199
who love you the most,
who have worked for you,

240
00:24:12,360 --> 00:24:15,318
who have been looking after you,

241
00:24:15,480 --> 00:24:18,950
trying to make your life better
then their own has been.

242
00:24:19,120 --> 00:24:23,318
Surely you want to make their lives
joyous by being happy.

243
00:24:24,440 --> 00:24:25,270
I do.

244
00:24:38,400 --> 00:24:40,595
Hey, down to the village?

245
00:24:49,760 --> 00:24:50,954
Can't you recognize me?

246
00:24:53,400 --> 00:24:58,633
Films in the 60's would often take
literature as a source of topics

247
00:24:58,800 --> 00:25:03,237
which is logical because literature
was also experiencing a boom,

248
00:25:03,400 --> 00:25:10,158
writers like Hrabal, Paral, Lustig,
Askenazy, or in Slovakia Tatarka,

249
00:25:10,320 --> 00:25:18,557
Bednar, Mnacko, they all brought
up new views of the world

250
00:25:18,720 --> 00:25:23,191
and naturally they became
an inspiration for filmmakers.

251
00:25:23,360 --> 00:25:27,831
Among Slovakian filmmakers
there was an exception,

252
00:25:28,000 --> 00:25:30,355
Grecner's The Return of Dragon

253
00:25:30,520 --> 00:25:34,399
was based on an older prose
by Dobroslav Chrobak.

254
00:25:35,440 --> 00:25:42,630
After writing his novel Chrobak
was accused of plagiarism

255
00:25:42,800 --> 00:25:49,512
by doctor Felix who was giving
Chrobak a really hard time.

256
00:25:49,680 --> 00:25:53,878
The main motif of Dragon
is a loss of dignity

257
00:25:54,040 --> 00:26:01,799
which is Chrobak's inner fight
to gain back his reputation.

258
00:26:01,960 --> 00:26:08,991
I thought this topic was worth it

259
00:26:09,160 --> 00:26:13,073
because one becomes a hero only
by starting something impossible.

260
00:26:14,040 --> 00:26:15,712
He's come back to you.

261
00:26:20,080 --> 00:26:21,957
Dragon is back.

262
00:26:29,720 --> 00:26:32,792
If you remember Grecner's version

263
00:26:32,960 --> 00:26:36,157
Dragon is not returning,
he is actually leaving.

264
00:26:36,320 --> 00:26:42,031
It is a totally skeptical view
of an individual's attempts

265
00:26:42,200 --> 00:26:47,194
to become a part of a society
which once hurt him badly.

266
00:26:47,360 --> 00:26:56,871
It is not one of typical folklore
films as we know them from 50's.

267
00:26:57,040 --> 00:27:04,799
Artistically and emotionally
it heads toward paganism.

268
00:27:04,960 --> 00:27:08,999
Dragon is a potter which is one
of the oldest trades.

269
00:27:09,160 --> 00:27:13,995
There are simplified,
stylized costumes.

270
00:27:14,160 --> 00:27:20,349
Even in the context of 60's
the film is strange and unique.

271
00:27:21,440 --> 00:27:26,036
I consider folklore
a soul of a nation.

272
00:27:26,200 --> 00:27:30,239
I wanted to portray this
but at the same time

273
00:27:30,400 --> 00:27:35,428
I wanted to get rid of
its official concept as we knew it.

274
00:27:35,600 --> 00:27:44,759
I think the symbiosis
of folk and modern art

275
00:27:44,920 --> 00:27:49,232
was best portrayed by Slovak
surrealists who announced

276
00:27:49,400 --> 00:27:55,953
Janko Kral was their guru.

277
00:27:56,120 --> 00:28:03,356
The message of this nation's soul
is hidden in Slovak ballads, songs

278
00:28:03,520 --> 00:28:07,308
and in their primary folk costumes.

279
00:28:07,480 --> 00:28:12,270
I wanted to respect these three
columns when making Dragon.

280
00:28:12,440 --> 00:28:18,675
A real folk art is not as showy
as presented on stages back then.

281
00:28:18,840 --> 00:28:27,236
There is a poor region which has
the most beautiful ornament,

282
00:28:27,400 --> 00:28:31,313
sober, simple and eloquent.

283
00:28:31,480 --> 00:28:35,155
The richer the region,
the more degenerated folk costume.

284
00:28:35,320 --> 00:28:41,031
I refused to use all ornaments
with an exception of a red thread.

285
00:28:41,200 --> 00:28:46,797
The simplest Slovak folk costume
is made of an ordinary white linen

286
00:28:46,960 --> 00:28:51,556
seamed by a red thread.

287
00:28:51,720 --> 00:29:06,795
After watching first dailies
at Koliba I was totally desperate.

288
00:29:06,960 --> 00:29:10,236
It had nothing to do with
what I'd attempted to make

289
00:29:10,400 --> 00:29:13,756
although Krajcovic
created a perfect set,

290
00:29:13,920 --> 00:29:18,436
to me it seemed artificial,
as if made of plaster.

291
00:29:18,600 --> 00:29:22,798
I was at my wit's end.

292
00:29:22,960 --> 00:29:29,559
I showed some scenes to Barabas
and asked him what to do now.

293
00:29:29,720 --> 00:29:34,794
So we discussed this topic

294
00:29:34,960 --> 00:29:42,992
and I remembered The Sun in a Net
and Szomolany's zoom lens thinking

295
00:29:43,160 --> 00:29:50,748
only zoom lens can help us focus
on a human face and soul

296
00:29:50,920 --> 00:30:00,272
and neglect everything around
or create an ordinary surrounding.

297
00:30:00,440 --> 00:30:06,470
We shot 90% of the film
with the zoom lens

298
00:30:06,640 --> 00:30:14,638
and it helped us create quite
a mysterious atmosphere.

299
00:30:17,040 --> 00:30:22,717
Casting a Czech actor into
the leading role caused a scandal

300
00:30:22,880 --> 00:30:31,197
among Slovak actors because for some
reason they required a Slovak

301
00:30:31,360 --> 00:30:35,717
as if a nationality could
be visually captured.

302
00:30:35,880 --> 00:30:44,470
The whole story of Dragon is based
on Dragon being a foreign element

303
00:30:44,640 --> 00:30:48,155
who does not belong
to the local community.

304
00:30:48,320 --> 00:30:53,519
I told Valach: Your face blends
perfectly with Slovak surroundings,

305
00:30:53,680 --> 00:30:58,435
I can't see any reason for him
being pushed away by the others

306
00:30:58,600 --> 00:31:02,309
and I need a face which apparently
doesn't come from the village

307
00:31:02,480 --> 00:31:06,029
so the locals have
a reason to hate him.

308
00:31:06,200 --> 00:31:09,237
And that's how I got
to cast Lukavsky.

309
00:31:14,920 --> 00:31:24,875
I asked Zelienka to compose
something purely pagan

310
00:31:25,040 --> 00:31:29,830
and he asked me to give him
some more details so I said:

311
00:31:30,000 --> 00:31:34,710
I'll lend you my recording
of Stravinski's Oedipus Rex.

312
00:31:34,880 --> 00:31:45,233
Dragon should enter the scene
as something dangerous, mysterious

313
00:31:45,400 --> 00:31:50,190
which tells you to be careful
because here comes a magician.

314
00:31:50,360 --> 00:31:54,717
I think Zelienka is
a congenial composer,

315
00:31:54,880 --> 00:32:04,118
he saw the rough cut once, went
home and came with a score

316
00:32:04,280 --> 00:32:09,877
which just mesmerized me,
this was exactly how I felt it.

317
00:32:10,040 --> 00:32:15,751
Without this score the film
would be very dull

318
00:32:15,920 --> 00:32:19,276
but the music brings a tension
from the beginning till the end.

319
00:32:42,680 --> 00:32:44,955
A story of powerful passions,
strong characters

320
00:32:45,120 --> 00:32:49,113
with deep imagery and poetics,
that is Marketa Lazarova,

321
00:32:49,280 --> 00:32:51,635
a literary work by Vladislav Vancura

322
00:32:51,800 --> 00:32:54,030
who would celebrate
his 75th birthday this year.

323
00:32:58,680 --> 00:33:02,912
Our camera visited a camp
of its feature colleague

324
00:33:03,080 --> 00:33:05,036
who is filming this story.

325
00:33:05,200 --> 00:33:06,599
The screenplay was written
by Frantisek Pavlicek

326
00:33:06,760 --> 00:33:07,909
and director Frantisek Vlacil.

327
00:33:08,400 --> 00:33:14,111
Marketa Lazarova was perhaps
the most distinct literary adaptation

328
00:33:14,280 --> 00:33:18,558
not only due to its demandingness
and long-run preparations

329
00:33:18,720 --> 00:33:24,556
but because filmmakers managed
to find a key to transform

330
00:33:24,720 --> 00:33:31,193
a unique literary work enriched
with a beautiful language

331
00:33:31,360 --> 00:33:37,310
into a monumental
visual piece of art.

332
00:33:37,480 --> 00:33:45,398
For sure it worked thanks to Vlacil
who never studied filmmaking,

333
00:33:45,560 --> 00:33:55,151
he was an artist able
to visualize the literary model.

334
00:33:55,320 --> 00:33:59,359
Also we mustn't omit
Frantisek Pavlicek's contribution.

335
00:33:59,520 --> 00:34:03,149
Milan Kundera once said

336
00:34:03,320 --> 00:34:07,472
that Marketa Lazarova
is a ready screenplay itself

337
00:34:07,640 --> 00:34:15,638
but it turned out to be wrong,
the novel had to be rewritten.

338
00:34:15,800 --> 00:34:21,511
Vlacil did not plan to make
a historical film

339
00:34:21,680 --> 00:34:27,630
he would speak about period films
which is a more precise expression.

340
00:34:27,800 --> 00:34:32,191
Period in terms of describing
period cycles, desires,

341
00:34:32,360 --> 00:34:34,920
or period twists of human mentality.

342
00:34:46,280 --> 00:34:49,716
It is a brand new concept
of a historical film,

343
00:34:49,880 --> 00:34:58,390
very individualized, poetic, lyrical

344
00:34:59,880 --> 00:35:07,753
and extremely expressive even when
it describes pain, suffering, hurt.

345
00:35:07,920 --> 00:35:12,914
Plus there is a concept of a clash
between pagan and Christian view,

346
00:35:13,080 --> 00:35:15,230
or German and Czech element.

347
00:35:15,400 --> 00:35:19,916
We can spot some traces
in Vancura's novel already

348
00:35:20,080 --> 00:35:23,197
but Vlacil truly underlined it.

349
00:35:24,880 --> 00:35:26,916
This film cannot be compared

350
00:35:27,080 --> 00:35:30,959
to any other in the history
of the Czech cinematography.

351
00:35:32,960 --> 00:35:33,790
Stand up!

352
00:35:35,880 --> 00:35:37,632
Let him stand.

353
00:35:43,040 --> 00:35:50,958
Except making costumes which
I personally value the most,

354
00:35:51,120 --> 00:35:56,433
I was also in charge of setting up
the whole production design.

355
00:35:56,600 --> 00:36:05,190
I have to say I managed to create
a very unique Czech film

356
00:36:05,360 --> 00:36:12,232
because I invited awesome artists
to take part in this project.

357
00:36:12,400 --> 00:36:16,075
Zbynek Sekal made the crucifix,

358
00:36:16,240 --> 00:36:20,028
Koblasa made milestones
by the royal roads,

359
00:36:20,200 --> 00:36:24,557
Vozinjak made the amulet tree.

360
00:36:38,280 --> 00:36:42,159
Vlacil never talked to me too much,

361
00:36:42,320 --> 00:36:47,314
for the first half a year he'd just
check up on me if I was in bed,

362
00:36:47,480 --> 00:36:53,112
he'd sit on a chair next to me
and talk about 13th century,

363
00:36:53,280 --> 00:36:56,989
about king Premysl Otakar II,

364
00:36:57,160 --> 00:37:01,233
he'd retell me the whole royal
story that had never been shot.

365
00:37:01,400 --> 00:37:07,839
Sometimes he'd show me his script
drawn picture by picture,

366
00:37:08,000 --> 00:37:11,675
I was represented by a mane
of hair with a nose sticking out.

367
00:37:11,840 --> 00:37:17,597
Even today I am able to tell
historians many interesting things

368
00:37:17,760 --> 00:37:20,797
about 13th century.

369
00:37:20,960 --> 00:37:26,239
We would wear costumes
as often as possible.

370
00:37:26,400 --> 00:37:33,670
Theodor Pistek was upset because
the costumes were hand-made,

371
00:37:33,840 --> 00:37:36,070
I wore a cap made of a snake skin.

372
00:37:36,240 --> 00:37:40,916
We actually inhabited the costumes
and the whole set

373
00:37:41,080 --> 00:37:46,473
so when we got back to a civil
reality, it felt weird

374
00:37:46,640 --> 00:37:52,476
because we belonged to 13th century
not to 20th century.

375
00:37:52,640 --> 00:37:55,108
You shall be standing here

376
00:37:55,280 --> 00:37:59,717
looking into your brother's face
until the moment he dies

377
00:38:02,040 --> 00:38:04,190
and then you shall be buried
alongside him.

378
00:38:04,360 --> 00:38:12,995
Vlacil essentially changed
a historical film genre

379
00:38:13,160 --> 00:38:19,633
by snipping it off 19th century.

380
00:38:19,800 --> 00:38:27,912
The historical genre represented by
Vavra or Krska had been developing

381
00:38:28,080 --> 00:38:35,475
in accordance with a paradigm

382
00:38:35,640 --> 00:38:40,919
defined by the revivalist movement
in 19the century.

383
00:38:41,080 --> 00:38:43,913
It picks up on graphic motives,

384
00:38:44,080 --> 00:38:48,278
on interpretations of social
groups or individual characters.

385
00:38:48,440 --> 00:38:52,069
Suddenly here comes Vlacil
and turns it all upside down.

386
00:39:10,760 --> 00:39:16,278
We should also mention other
people who worked on this film,

387
00:39:16,440 --> 00:39:21,833
like cameraman Bedrich Batka,
or composer Zdenek Liska.

388
00:39:22,000 --> 00:39:29,634
They all contributed to the intense
result, visual as well as sound.

389
00:39:29,800 --> 00:39:37,229
Valley of the Bees was perhaps a bit
unjustly overshadowed by Marketa.

390
00:39:37,400 --> 00:39:40,278
It was written by Vladimir Korner

391
00:39:40,440 --> 00:39:47,312
who made use of some props
from Marketa Lazarova set.

392
00:39:47,480 --> 00:39:53,635
A new creative tandem
Vlacil Korner was born here,

393
00:39:53,800 --> 00:39:58,271
together they made another
excellent film Adelheid

394
00:39:58,440 --> 00:40:01,000
which unfortunately also
ended up in a vault.

395
00:40:03,800 --> 00:40:10,831
I am not brave enough to watch you
fall down, turn into tinder and pus.

396
00:40:20,400 --> 00:40:23,233
I have come to make you my judge.

397
00:40:27,840 --> 00:40:34,075
This current process which attempts
to democratize our life

398
00:40:34,240 --> 00:40:42,477
has not come from comrades from
the Presidium of the Communist Party

399
00:40:42,640 --> 00:40:46,997
but from the members
of the Central Committee,

400
00:40:47,160 --> 00:40:51,836
one of them was from Prague, other
one from Brno, from some village,

401
00:40:52,000 --> 00:40:55,356
other one was from some factory
and they have done so independently.

402
00:40:55,520 --> 00:40:58,956
A political liberalization in 1968

403
00:40:59,120 --> 00:41:04,069
opened the door for Karel Vachek's
feature documentary.

404
00:41:04,240 --> 00:41:11,590
As a student he was a chronic
complainer and later he paid for it.

405
00:41:11,760 --> 00:41:17,710
His graduation film Moravian Hellas
was made in a non-traditional way

406
00:41:17,880 --> 00:41:22,317
and later he used this method

407
00:41:22,480 --> 00:41:27,634
when making a documentary about
a presidential election in 1968,

408
00:41:27,800 --> 00:41:37,471
a merciless portrayal of adored
leaders of the Prague Spring.

409
00:41:37,640 --> 00:41:43,988
The transition must have been tough
for comrade Novotny but I think

410
00:41:44,160 --> 00:41:48,039
that as a real politician he should
have come to this opinion earlier.

411
00:41:48,200 --> 00:41:49,918
Why didn't he do it?

412
00:41:50,080 --> 00:41:59,955
Because of his disaffection with
life, with evaluation of reality,

413
00:42:00,120 --> 00:42:06,878
it convinced him that he might
have been done wrong.

414
00:42:07,040 --> 00:42:10,953
I met Borovicka on the street,
it was the spring and I asked him:

415
00:42:11,120 --> 00:42:14,829
Could I make a film?

416
00:42:15,000 --> 00:42:17,468
And he said: Come tomorrow,
you'll get a camera.

417
00:42:19,400 --> 00:42:25,873
The atmosphere was very similar
to the one after 1989.

418
00:42:26,040 --> 00:42:32,275
Those in charge were so new

419
00:42:32,440 --> 00:42:40,120
you could just approach them
with a smile and it scared them.

420
00:42:40,280 --> 00:42:49,359
They would do anything for a friend
who came to talk to them.

421
00:42:49,520 --> 00:42:59,668
And once you approached them
with a positive attitude which I did

422
00:42:59,840 --> 00:43:02,434
they'd help you get
to anybody you wished to meet.

423
00:43:02,600 --> 00:43:04,989
I caught Dubcek on the street,

424
00:43:05,160 --> 00:43:08,470
we were waiting for him in front
of the Central Committee building

425
00:43:08,640 --> 00:43:13,668
and he invited us in
instead of some French TV.

426
00:43:13,840 --> 00:43:18,914
I'm not sure. We're having lunch
now and then we'll arrange it.

427
00:43:19,080 --> 00:43:22,675
I have to check the list
of invited comrades

428
00:43:22,840 --> 00:43:31,839
because we're planning a plenary
of the Communist Central Committee.

429
00:43:32,000 --> 00:43:37,677
- We'll wait for you here then.
- Please, do.

430
00:43:39,560 --> 00:43:46,636
In that time they got 16mm cameras,
recorders which did not hum

431
00:43:46,800 --> 00:43:56,391
so Novotny and others felt good
when being recorded at the Castle.

432
00:43:56,560 --> 00:44:01,509
That's how 16mm cameras
appeared in the Czech Republic.

433
00:44:01,680 --> 00:44:05,753
Suddenly I see Ort-Snep running
around the chambers with a camera

434
00:44:05,920 --> 00:44:09,959
and it felt like a miracle.
We wanted to make the most of it,

435
00:44:10,120 --> 00:44:14,159
plus we got to use
directional microphones.

436
00:44:14,320 --> 00:44:19,110
- What distance can it record?
- Depends on the surrounding.

437
00:44:19,280 --> 00:44:31,033
Up to 10 meters. If he walks like
10 meters behind a guy on a street.

438
00:44:35,440 --> 00:44:38,398
Where was it made? I see.

439
00:44:41,400 --> 00:44:44,278
From car to car? No, it can't.

440
00:44:44,440 --> 00:44:48,877
Before the shooting I met Passer

441
00:44:49,040 --> 00:44:53,909
and he said: You've got to get there
even if it was through a keyhole.

442
00:44:54,080 --> 00:44:59,074
And I remembered the keyhole
when they told us to leave

443
00:44:59,240 --> 00:45:03,791
and said to the soundman:
Get the mike to a keyhole!

444
00:45:04,200 --> 00:45:12,710
Let's apologize for all the
processes with subversive centres,

445
00:45:12,880 --> 00:45:19,228
but we'll proudly acknowledge:

446
00:45:19,760 --> 00:45:24,550
We mustn't forget to mention
cameraman Josef Ort-Snep,

447
00:45:24,720 --> 00:45:28,315
Vachek's close colleague

448
00:45:28,480 --> 00:45:35,477
who was capable of being
right in the middle of events

449
00:45:35,640 --> 00:45:39,519
and thanks to him we see things
in the film the way they are.

450
00:45:39,840 --> 00:45:44,038
The declaration of workers
in culture published yesterday,

451
00:45:44,200 --> 00:45:49,638
especially as concerns
the characteristics

452
00:45:49,800 --> 00:45:58,230
and the range of features typical
of the president of the state,

453
00:45:58,400 --> 00:46:03,394
about how they oppose a soldier
as the head of the state.

454
00:46:03,560 --> 00:46:06,233
I discern shots that shine.

455
00:46:06,400 --> 00:46:13,033
Then I take them out and go on
chronologically like an idiot,

456
00:46:13,200 --> 00:46:18,991
and when I cannot keep chronology
any longer I make a kind of charade.

457
00:46:19,160 --> 00:46:22,152
There's nothing else you can do.

458
00:46:22,320 --> 00:46:28,350
Okay, we had a bad start,
so the event at the end-

459
00:46:28,520 --> 00:46:31,318
novelist often do this-

460
00:46:31,480 --> 00:46:35,359
the key event that Svoboda had been
elected we put in the beginning,

461
00:46:35,520 --> 00:46:38,398
he was elected there and only then
we set the election in motion.

462
00:46:38,560 --> 00:46:41,791
Suddenly it got the rhythm
and we got the ball rolling.

463
00:46:41,960 --> 00:46:43,712
More or less chronologically.

464
00:46:44,360 --> 00:46:47,591
They always listen to
what MPs are talking about.

465
00:46:47,760 --> 00:46:50,115
That's good. That's all I have.

466
00:46:53,080 --> 00:46:58,632
Vachek was preparing some projects
between Hellas and Affinities,

467
00:46:58,800 --> 00:47:01,553
one of them was a feature film

468
00:47:01,720 --> 00:47:05,349
but none of the projects
got to be carried out eventually.

469
00:47:05,520 --> 00:47:15,350
Surely it was because of his
unconventional view of reality.

470
00:47:15,520 --> 00:47:23,200
Barrandov management as well as
the communist nomenclature

471
00:47:23,360 --> 00:47:28,912
were reluctantly willing to accept
Forman or Chytilova,

472
00:47:29,080 --> 00:47:36,350
but Vachek's directive
film expression

473
00:47:36,520 --> 00:47:45,997
based on a grotesque and ironic
distance was unacceptable.

474
00:47:46,160 --> 00:47:55,558
I pledge allegiance to the
Czechoslovak Socialist Republic

475
00:47:55,720 --> 00:47:57,438
and matter of socialism.

476
00:47:58,320 --> 00:48:01,710
I shall perform my office
in the interest of all the people.

477
00:48:02,440 --> 00:48:08,436
I shall attend to benefit of our
republic, observe its Constitution

478
00:48:08,600 --> 00:48:12,752
and other laws
of our socialist state.

479
00:48:27,120 --> 00:48:32,148
Another "lonely runner"
of the New Wave was Juraj Herz.

480
00:48:32,320 --> 00:48:37,599
Unlike his colleagues he studied
at DAMU, not at FAMU.

481
00:48:37,760 --> 00:48:41,070
One of his classmates
was Jan Svankmajer

482
00:48:41,240 --> 00:48:47,429
and they shared an affection for
broadside ballads and its poetics,

483
00:48:47,600 --> 00:48:50,194
horror stories, old freak shows

484
00:48:50,360 --> 00:48:55,514
and it was all reflected
in Herz's short film The Junk Shop

485
00:48:55,680 --> 00:49:01,437
and later he used it in his most
important film of the sixties,

486
00:49:01,600 --> 00:49:06,754
The Cremator based on
a book by Ladislav Fuks.

487
00:49:07,320 --> 00:49:14,351
Gentle, 17 years ago we met
here on this blessed place.

488
00:49:15,160 --> 00:49:19,233
Things have not changed at all,
perhaps except the leopard here.

489
00:49:21,240 --> 00:49:24,789
The late one must have been torn
out of his animal fetters

490
00:49:24,960 --> 00:49:27,758
by the kind Mother Nature.

491
00:49:29,240 --> 00:49:38,353
Me, Fuks and Mrs Kalabova
used to meet once or twice a week

492
00:49:38,520 --> 00:49:42,115
for two years in cafe Slavia,

493
00:49:42,280 --> 00:49:47,308
discussing the script
piece by piece.

494
00:49:47,480 --> 00:49:50,517
I'd say what I wanted
and he would rewrite it

495
00:49:50,680 --> 00:49:53,672
and so the script slowly developed.

496
00:49:53,840 --> 00:49:58,356
We were actually changing
the whole novel this way

497
00:49:58,520 --> 00:50:06,552
and our kind dramaturgist Kalabova
almost never said a word

498
00:50:06,720 --> 00:50:10,633
but when she did speak out,
she'd say something important.

499
00:50:10,800 --> 00:50:14,634
- What is this?
- You aren't scared, are you?

500
00:50:14,800 --> 00:50:17,837
And this is Plajeaux,
the mass murderer.

501
00:50:19,400 --> 00:50:22,631
He would go murdering
every day and every night.

502
00:50:22,800 --> 00:50:29,148
When preparing The Cremator
I got to know Sartre's work.

503
00:50:29,320 --> 00:50:32,118
Back then only the first
two parts were available.

504
00:50:32,280 --> 00:50:36,512
The first part is written
in a very conventional way,

505
00:50:36,680 --> 00:50:39,990
the second part looks like this:

506
00:50:43,760 --> 00:50:47,878
Charles came to a window,
took his cigarette, threw it out,

507
00:50:48,040 --> 00:50:55,116
turned to Marie drinking her coffee
and told her this and this.

508
00:50:55,280 --> 00:51:02,038
But Charles was in Paris
while Marie was actually in Madrid.

509
00:51:02,200 --> 00:51:05,829
Something like this.

510
00:51:06,000 --> 00:51:13,076
And I loved the blending
within one sentence

511
00:51:13,240 --> 00:51:17,233
and thought this could
be used in a film as well.

512
00:51:17,400 --> 00:51:26,638
When writing a technical screenplay
I blended several scenes,

513
00:51:26,800 --> 00:51:29,314
I mean one scene starts somewhere

514
00:51:29,480 --> 00:51:31,994
but it actually belongs
to the next scene,

515
00:51:32,160 --> 00:51:35,994
the same goes for dialogues etc.

516
00:51:36,560 --> 00:51:42,351
You'e never seen boxing, me neither
because I find boxing too rough.

517
00:51:44,800 --> 00:51:46,631
Well, I can't wait.

518
00:51:51,400 --> 00:51:54,597
One, two, three.

519
00:51:54,760 --> 00:51:56,876
So you know what a real
masculine sport looks like.

520
00:51:57,040 --> 00:51:59,395
But I've always considered
boxing a rough sport.

521
00:51:59,560 --> 00:52:02,677
Or, let's say hard but it's alright.
We need strong brave men.

522
00:52:02,840 --> 00:52:05,354
Boxing is a martial art.
Fist to fist.

523
00:52:05,520 --> 00:52:08,114
He has always said:
There were two options.

524
00:52:08,280 --> 00:52:11,955
Either a color version without him
or a black and white one with him.

525
00:52:12,120 --> 00:52:14,350
Eventually he picked me
so it was black and white.

526
00:52:14,520 --> 00:52:17,353
I personally hate color

527
00:52:17,520 --> 00:52:24,676
because it feels as if you printed
texts in books in color,

528
00:52:24,840 --> 00:52:31,075
a blue sky, green pastures:

529
00:52:31,240 --> 00:52:35,597
The same goes for a film,

530
00:52:35,760 --> 00:52:42,438
I think a viewer should get
a chance to color it himself,

531
00:52:42,600 --> 00:52:45,592
or he shouldn't be distracted
from the story by some colors.

532
00:52:45,760 --> 00:52:48,718
This is a mechanism for
a rapid cremation

533
00:52:48,880 --> 00:52:51,189
of a bigger amount of people.

534
00:52:51,360 --> 00:52:57,356
It helps many souls free themselves
from fetters of this existence

535
00:52:57,520 --> 00:53:02,514
and fly up into the space
and dissolve in the ether.

536
00:53:04,560 --> 00:53:08,394
I think this is a big opportunity
because in my crematorium

537
00:53:08,560 --> 00:53:11,597
it takes 75 minutes to transform
a corpse into a pure ash

538
00:53:11,760 --> 00:53:13,239
and each corpse has
its own cremator.

539
00:53:13,400 --> 00:53:21,876
Fuks was convincing me
to cast Mr Somr for the lead role

540
00:53:22,040 --> 00:53:27,273
and I said Mr Somr is a great actor
but he is not Kopfrkingl.

541
00:53:27,440 --> 00:53:30,034
Hrusinsky is Kopfrkingl.

542
00:53:30,200 --> 00:53:34,591
Back then he'd sit every night
in Evropa pub, drinking beer

543
00:53:34,760 --> 00:53:41,279
and I'd go drink with them
so once I gave him the script there

544
00:53:41,440 --> 00:53:44,512
and after reading it he said:
There's nothing for me to play.

545
00:53:44,680 --> 00:53:50,994
I kept convincing him
and as I got probably too annoying

546
00:53:51,160 --> 00:53:55,517
and he wanted to drink his beer
peacefully, eventually he said yes.

547
00:53:55,680 --> 00:53:59,434
He came to the shooting set,

548
00:53:59,600 --> 00:54:04,833
and the first three days
he was really grumpy

549
00:54:05,000 --> 00:54:08,959
because we were taking
only short shots in those days.

550
00:54:09,120 --> 00:54:13,511
Then he realized that there actually
might be something to play there,

551
00:54:13,680 --> 00:54:20,438
his grumpiness turned into a good
mood, we became friends

552
00:54:20,600 --> 00:54:28,632
and as really good friends
we eventually finished the film.

553
00:54:28,800 --> 00:54:38,118
I was used to discussing score
with my composer second by second,

554
00:54:38,280 --> 00:54:43,718
with Liska it was the same,
he just kept nodding

555
00:54:43,880 --> 00:54:52,754
and as he was leaving he said:
Should it be spooky or nice?

556
00:54:52,920 --> 00:55:00,110
And I said: I'm spooky
enough, be kind, please.

557
00:55:00,280 --> 00:55:03,158
So they were recording the score

558
00:55:03,320 --> 00:55:05,880
and the music played
where I didn't want it to

559
00:55:06,040 --> 00:55:08,349
and other way around,

560
00:55:08,520 --> 00:55:13,071
he added some waltz
to a murder scene, it was awesome.

561
00:55:13,240 --> 00:55:15,151
He was an excellent dramaturgist.

562
00:55:23,160 --> 00:55:28,996
In the end the main character
goes completely nuts

563
00:55:29,160 --> 00:55:35,156
and leaves for Tibet where he
plans to manufacture huge cremators.

564
00:55:40,760 --> 00:55:44,116
We took some new shots
with Standa, the cameraman.

565
00:55:44,280 --> 00:55:49,718
We were shooting in cafe Repre
by the huge art deco windows

566
00:55:49,880 --> 00:55:53,589
and behind those windows
there were Russian tanks.

567
00:55:53,760 --> 00:56:00,029
In the scene this old lady
asks the young girl:

568
00:56:00,200 --> 00:56:03,636
What happened to Mr Kopfrkingl?

569
00:56:03,800 --> 00:56:06,519
And I moved the camera a little

570
00:56:06,680 --> 00:56:09,877
and the women were
replaced by the tanks.

571
00:56:10,040 --> 00:56:14,636
By means of a long focus

572
00:56:14,800 --> 00:56:22,798
we took a long shot of angry,
grayish, depressed people,

573
00:56:22,960 --> 00:56:26,635
tanks are passing them by
and suddenly among all the people

574
00:56:26,800 --> 00:56:28,756
there pops out a smiling face.

575
00:56:29,720 --> 00:56:32,917
Kopfrkingl is coming back
with the Soviet Army.

576
00:56:33,080 --> 00:56:37,596
When our manager saw this
he almost fell down his chair

577
00:56:37,760 --> 00:56:44,154
and said: This must be cut out.

578
00:56:44,320 --> 00:56:49,314
He cut it out and said
he would put it into a vault.

579
00:56:49,480 --> 00:56:57,319
The film was quickly banned
anyway but this piece got lost.

580
00:57:02,240 --> 00:57:06,313
There is a lot of work ahead
of you. For the nation and mankind.

581
00:57:12,000 --> 00:57:14,275
I'm glad you have come.

582
00:57:15,080 --> 00:57:16,991
Let me step right among you.

583
00:57:28,600 --> 00:57:34,232
Vihanova belongs to belated
debutants of the sixties.

584
00:57:34,400 --> 00:57:38,518
Her film Squandered Sunday
was made in 1969

585
00:57:38,680 --> 00:57:44,312
although she had made interesting
films already as a student,

586
00:57:44,480 --> 00:57:47,517
for example Fugue on Black Keys

587
00:57:47,680 --> 00:57:50,797
a story about covert racism
in the Czech society.

588
00:57:50,960 --> 00:57:52,473
Strangely enough she, a woman,

589
00:57:52,640 --> 00:57:55,677
situated her debut film based
on a novel by Jiri Krenek

590
00:57:55,840 --> 00:57:56,829
into a military settings.

591
00:57:57,000 --> 00:58:00,515
But the main theme of a moral
decay of an army officer

592
00:58:00,680 --> 00:58:05,879
was described as a decay
of human mentality as such

593
00:58:06,040 --> 00:58:07,871
and a feeling of estrangement

594
00:58:08,040 --> 00:58:11,476
in the middle of a mentally
emptied society.

595
00:58:11,640 --> 00:58:12,834
Anything you don't understand?

596
00:58:17,720 --> 00:58:20,792
- Me?
- Yes, you.

597
00:58:21,360 --> 00:58:23,555
I understand everything, lieutenant.

598
00:58:26,440 --> 00:58:30,035
Even minister's order concerning
upgrading your knowledge of math?

599
00:58:33,360 --> 00:58:35,635
I want you to report in my office
first thing on Monday morning.

600
00:58:37,960 --> 00:58:39,871
I want you to report in my office
first thing on Monday morning.

601
00:58:40,920 --> 00:58:44,230
On Monday I have an army
shooting competition, lieutenant.

602
00:58:44,400 --> 00:58:48,712
Although the main character
is a soldier I figured

603
00:58:48,880 --> 00:58:51,633
the problem concerns all humans

604
00:58:51,800 --> 00:58:59,593
even though in this case
a military mindset is determining.

605
00:58:59,760 --> 00:59:04,834
However, the soldier's problem
could happen to anybody,

606
00:59:05,000 --> 00:59:08,231
it would just perhaps lack
the extreme conclusion.

607
00:59:08,400 --> 00:59:18,514
Krenek was a professional soldier
and his colleague did shoot himself.

608
00:59:22,240 --> 00:59:24,515
What were you doing
in a military area?

609
00:59:24,680 --> 00:59:29,435
- We weren't in a military area.
- Sure we weren't

610
00:59:37,240 --> 00:59:38,309
Let's go, ladies.

611
00:59:41,200 --> 00:59:46,672
Keep the bullshit to yourselves
and kindly answer my questions.

612
00:59:49,200 --> 00:59:56,197
Let me warn you that whatever
you say can be used against you.

613
00:59:56,360 --> 01:00:02,037
This film was stylized into
a blunt black and white picture,

614
01:00:02,200 --> 01:00:13,634
full of absurd situations
and random writings.

615
01:00:13,800 --> 01:00:19,079
I knew we would inhabit
the Josefov quarter with old hags,

616
01:00:19,240 --> 01:00:28,638
gypsies, stray dogs and military
uniforms, nothing else.

617
01:00:28,800 --> 01:00:34,909
Except a few erotic elements
represented by those young girls

618
01:00:35,080 --> 01:00:43,988
there was an isolated, strange
and literally necrotizing world.

619
01:00:44,160 --> 01:00:52,158
There is the leitmotif of a gypsy
and the dog pawing in a sand

620
01:00:52,320 --> 01:00:55,437
and it repeats again and again.

621
01:00:55,600 --> 01:01:01,197
The situation in Josefov
was worse than the previous year,

622
01:01:01,360 --> 01:01:09,631
due to the Russians we had
a limited access to certain places.

623
01:01:09,800 --> 01:01:19,118
Half of the soldiers were Russian
so the atmosphere was pretty tense.

624
01:01:19,280 --> 01:01:26,311
But I have to say that our soldiers
were very open and helpful.

625
01:01:28,960 --> 01:01:31,793
Did you just cut
your hand, Mr Arnost?

626
01:01:34,960 --> 01:01:41,991
Wow, look how well you speak.
Say Black bug's blood.

627
01:01:42,560 --> 01:01:48,112
Black bug's blood,
black bug's blood.

628
01:01:48,560 --> 01:01:51,472
There is this scene

629
01:01:51,640 --> 01:01:54,279
where the lieutenant walks
down the stairs into a cellar,

630
01:01:54,440 --> 01:01:57,113
he turns the light on
and starts shooting at rats.

631
01:01:57,280 --> 01:02:00,955
They brought the giant rats
from the Prague sewerage,

632
01:02:01,120 --> 01:02:03,554
they were crawling up walls

633
01:02:03,720 --> 01:02:09,989
and one of them was sitting
some three meters from me

634
01:02:10,160 --> 01:02:14,995
on a pile of a coal dust,
observing me with her red eyes.

635
01:02:15,160 --> 01:02:18,709
I aimed at her, shot and missed!

636
01:02:18,880 --> 01:02:25,718
And the moment the bullet
just zoomed past its nose,

637
01:02:25,880 --> 01:02:28,519
the rat jumped up
and straight into my face.

638
01:02:28,680 --> 01:02:35,358
Fortunately I put the gun here
and she gnawed into its handle.

639
01:02:35,520 --> 01:02:38,432
So I shook it down
killed it with the gun.

640
01:02:40,800 --> 01:02:48,309
We finished the copy of the film
by the end of 1969,

641
01:02:48,480 --> 01:02:57,309
Prochazka invited some people,
Mr Hoger, Mr Tregr,

642
01:02:57,480 --> 01:03:07,151
I also invited some people
and they all praised the film.

643
01:03:07,320 --> 01:03:16,353
I'm not sure now who exactly
told me about the ban,

644
01:03:16,520 --> 01:03:20,832
I think it was Prochazka who said
it was banned from distribution.

645
01:03:21,000 --> 01:03:31,558
Somebody claimed that the negative
approach to life we present

646
01:03:31,720 --> 01:03:37,511
cannot be shown to wide public.

647
01:03:37,680 --> 01:03:43,676
Now say Black bug's blood
but silently so no one can hear us.

648
01:03:44,480 --> 01:03:46,436
Black bug's blood.

649
01:03:46,600 --> 01:03:52,755
- And now even quieter.
- Black bug's blood.

650
01:04:19,320 --> 01:04:23,950
Hynek Bocan started as
an assistant of older directors

651
01:04:24,120 --> 01:04:25,997
and later in his own films

652
01:04:26,160 --> 01:04:30,676
he always attempted to create
an unsystematic characterization

653
01:04:30,840 --> 01:04:33,229
of the Czech nation's nature.

654
01:04:33,400 --> 01:04:37,678
His debut was Kundera's adaptation
Nobody Will Laugh,

655
01:04:37,840 --> 01:04:41,515
followed by Private Torment
based on a novel by Paral

656
01:04:41,680 --> 01:04:48,358
and then Honor and Glory
based on Karel Michal's novel.

657
01:04:48,520 --> 01:04:55,119
In 1968 he got to read
The Decoy by Karel Misar

658
01:04:55,280 --> 01:05:01,549
and turned it into a film which
is even today considered brutal.

659
01:05:02,520 --> 01:05:07,799
The story once again tells us
about the situation in our society,

660
01:05:07,960 --> 01:05:13,114
this time on the background
of a reformatory.

661
01:05:13,280 --> 01:05:17,671
Scepticism and brutality
of relationships in the institute,

662
01:05:17,840 --> 01:05:19,990
not only between inmates

663
01:05:20,160 --> 01:05:26,474
but also between instructors
and the young delinquents,

664
01:05:26,640 --> 01:05:33,239
it metaphorically describes
relationships within our society

665
01:05:33,400 --> 01:05:36,073
in general.

666
01:05:38,080 --> 01:05:43,200
We went shooting
locations to Jezeri

667
01:05:43,360 --> 01:05:50,630
when general manager Harnach
called our production manager

668
01:05:50,800 --> 01:05:55,715
and said: Mr Beranek, this film is
a nonsense, it won't be approved,

669
01:05:55,880 --> 01:05:59,190
let's call it off while we can.

670
01:05:59,360 --> 01:06:05,879
And Beranek's reaction was really
brave: We're just about to wrap up.

671
01:06:06,040 --> 01:06:11,478
In fact, we had had only two days
of work. But Harnach let it go.

672
01:06:33,720 --> 01:06:36,518
Beranek arrived to Jezeri
and told us about it

673
01:06:36,680 --> 01:06:41,674
so we were sitting there and
I said: This is a big chance.

674
01:06:41,840 --> 01:06:49,110
We can actually make a film
without any restrictions

675
01:06:49,280 --> 01:06:58,473
And so we shot this paraphrase
of the Soviet army in Prague.

676
01:06:58,640 --> 01:07:01,757
We knew it wouldn't be
approved anyway.

677
01:07:01,920 --> 01:07:04,559
Still it caught me by surprise.

678
01:07:04,720 --> 01:07:09,874
We had to modify
53 out of 90 scenes.

679
01:07:10,040 --> 01:07:17,116
A strange thing was that it
didn't really change the film.

680
01:07:17,280 --> 01:07:23,753
Its message stayed the same,
a prototypical look at society.

681
01:07:40,600 --> 01:07:47,119
As for casting, it used to be
director's business back then.

682
01:07:47,280 --> 01:07:52,274
There were no casting studios.

683
01:07:52,440 --> 01:07:57,992
We'd give auditions
for non-actors

684
01:07:58,160 --> 01:08:02,358
but we'd even travel to see
mining apprentices

685
01:08:02,520 --> 01:08:09,198
because ads probably wouldn't
have been of much help.

686
01:08:33,680 --> 01:08:35,989
Jirka Samal was the director
of photography here.

687
01:08:36,160 --> 01:08:41,188
Technique-wise it was
a pretty interesting work

688
01:08:41,360 --> 01:08:48,789
because we'd gradually use
more and more coarse grain

689
01:08:48,960 --> 01:08:56,389
and the final quarter shows
the most coarse image.

690
01:08:56,560 --> 01:09:06,470
A viewer might not realize this
but as the image changes

691
01:09:06,640 --> 01:09:11,509
it brings a documentary-like
truthfulness into the film.

692
01:09:11,680 --> 01:09:15,195
We used a handycam a lot,
it was quite unique back then

693
01:09:15,360 --> 01:09:19,239
but Samal knew how to work it,

694
01:09:19,400 --> 01:09:22,233
the locations were real

695
01:09:22,400 --> 01:09:30,512
so the whole thing turned out
to be almost naturalistic.

696
01:09:30,680 --> 01:09:35,959
There was this chairman
of the Barrandov communists

697
01:09:36,120 --> 01:09:40,352
who hated me for that
and once he told me:

698
01:09:40,520 --> 01:09:47,551
I used to be a commissioner
of all prisons in the 50's

699
01:09:47,720 --> 01:09:51,429
but none of them was as awful
as that reformatory of yours.

700
01:09:51,600 --> 01:09:56,037
But he also said: But these
rebellions and stuff,

701
01:09:56,200 --> 01:09:58,794
could you make
some sequences out of it?

702
01:09:58,960 --> 01:10:03,078
We'd screen it in reformatories

703
01:10:03,240 --> 01:10:07,438
not for children but for
the staff. It's so edifying.

704
01:10:11,400 --> 01:10:18,511
Bocan's The Decoy was actually
finished as late as in 1990

705
01:10:18,680 --> 01:10:23,674
when they made a post dubbing.
The same fate met other films,

706
01:10:23,840 --> 01:10:29,870
Balada's Ark of Fools, or
Vihanova's Squandered Sunday.

707
01:10:30,040 --> 01:10:37,958
All these films were locked
in a vault semi-finished

708
01:10:38,120 --> 01:10:43,399
and final works were done
some twenty years later.

709
01:10:57,680 --> 01:11:02,356
Evald Schorm was considered
the great thinker of the New Wave

710
01:11:02,520 --> 01:11:06,991
and Pavel Juracek was
its screenwriting star.

711
01:11:07,160 --> 01:11:13,952
There may be a hidden line
of his screenwriting co-operations

712
01:11:14,120 --> 01:11:20,150
but already in 1962 he started
working on a script called Gulliver

713
01:11:20,320 --> 01:11:23,198
inspired by Gulliver's Travels

714
01:11:23,360 --> 01:11:27,478
and it developed into a film called
A Case for a Rookie Hangman.

715
01:11:38,000 --> 01:11:44,075
When we look at this
last Juraceks film

716
01:11:44,240 --> 01:11:49,360
where excellent actor Kostelka

717
01:11:49,520 --> 01:11:55,197
in the lead role passes through
a tunnel into his subconscience

718
01:11:55,360 --> 01:11:59,672
where he meets all the characters
who haunted also writer Juracek

719
01:11:59,840 --> 01:12:02,638
we can see this is about
twinges of conscience.

720
01:12:02,800 --> 01:12:09,114
Again there appears an Escherian
motif, a floor which disappears,

721
01:12:09,280 --> 01:12:14,832
worlds, spaces and times blending.

722
01:12:15,000 --> 01:12:23,396
A real world, half a meter above
another world which is not real.

723
01:12:23,560 --> 01:12:28,588
Of course it is also a wonderful
allegory of a government

724
01:12:28,760 --> 01:12:31,752
which is totally separated
from ordinary people,

725
01:12:31,920 --> 01:12:35,595
presenting a view of what
a normalization could mean.

726
01:12:35,760 --> 01:12:38,479
In this sense the film
is almost prophetic.

727
01:12:39,160 --> 01:12:41,549
Each of us has his own Mrs Muller

728
01:12:42,520 --> 01:12:45,114
whose light used to
shine on us in the beginning.

729
01:12:47,840 --> 01:12:56,191
I said: Good evening, Mr Muller,
it is me, Lemuel. Lemuel Gulliver.

730
01:12:57,040 --> 01:12:58,792
Lemuel Gulliver from Dlouha Street.

731
01:13:00,160 --> 01:13:01,229
But it wasn't Mr Muller.

732
01:13:01,400 --> 01:13:05,757
What I appreciate most
is the very first chapter

733
01:13:05,920 --> 01:13:11,597
where he actually paraphrased

734
01:13:11,760 --> 01:13:15,958
and set Swift's work
into the Czech context

735
01:13:16,120 --> 01:13:19,112
and at the same time
he made use of his knowledge

736
01:13:19,280 --> 01:13:22,033
of Jung's depth psychology

737
01:13:22,200 --> 01:13:29,754
because the hero's descent
towards himself is very deep

738
01:13:29,920 --> 01:13:35,597
in the sense of using details
from a psychological field

739
01:13:35,760 --> 01:13:41,278
like symbols, objects, or even
a description of a landscape.

740
01:13:41,440 --> 01:13:46,673
I'm sorry but if you're
silent because of me

741
01:13:50,560 --> 01:13:54,235
Gentlemen, you must understand

742
01:14:01,840 --> 01:14:06,118
I know Pavel really suffered,
he couldn't sleep,

743
01:14:06,280 --> 01:14:12,230
bringing this film to the world
was like a real labor pain for him.

744
01:14:12,400 --> 01:14:16,359
But he was well prepared
and so responsible

745
01:14:16,520 --> 01:14:20,433
he would never come to a set
and say I'm not ready to work.

746
01:14:20,600 --> 01:14:24,559
As a writer and a director in one

747
01:14:24,720 --> 01:14:32,991
he made it easy for a production
manager to sort out problems

748
01:14:33,160 --> 01:14:38,439
because Juracek would take a break

749
01:14:38,600 --> 01:14:41,876
and in half an hour he would
rewrite the whole scene,

750
01:14:42,040 --> 01:14:43,678
not only with regards to weather

751
01:14:43,840 --> 01:14:51,349
but often this new version was
even better than the previous one.

752
01:14:51,520 --> 01:14:55,593
Good day, professor. I've come
to ask you about a dream.

753
01:14:55,760 --> 01:15:00,914
I dreamt Marketa drowned because
I stole a mug full of money.

754
01:15:01,080 --> 01:15:03,469
I dreamt I was left
all alone in this world

755
01:15:03,640 --> 01:15:05,198
and met a full dressed hare.

756
01:15:06,040 --> 01:15:10,795
And professor, I killed this hare.

757
01:15:13,840 --> 01:15:20,359
Cameraman Kalis was very skilled

758
01:15:20,520 --> 01:15:28,313
and I think he helped Juracek
a great deal with his technique

759
01:15:28,480 --> 01:15:34,999
because Juracek's strong point
was writing, not a camera work.

760
01:15:35,960 --> 01:15:38,349
- What is your name?
- Lemuel Gulliver.

761
01:15:38,520 --> 01:15:40,397
Your name is Oskar.

762
01:15:46,560 --> 01:15:47,470
Read this!

763
01:15:49,800 --> 01:15:54,999
For Oskar the hare's loyal service,
Prince Munody.

764
01:15:57,040 --> 01:15:59,235
Gentlemen, you don't think
I am a hare, do you?

765
01:15:59,400 --> 01:16:07,080
We got an approval to go
and find Laputa island abroad,

766
01:16:07,240 --> 01:16:11,950
so we went to France
to see Mont Saint-Michel island,

767
01:16:12,120 --> 01:16:16,352
unfortunately the situation here
got a bit too complicated,

768
01:16:16,520 --> 01:16:20,672
shooting abroad was out of question
and we only took some pictures.

769
01:16:20,840 --> 01:16:23,798
Later we made a collage

770
01:16:23,960 --> 01:16:33,039
of a castle in Cesky Krumlov
with photos from Mont Saint-Michel

771
01:16:33,200 --> 01:16:36,510
and in the end it looked good.

772
01:16:36,680 --> 01:16:41,515
As for constructing execution
machines and thinking machines,

773
01:16:41,680 --> 01:16:45,434
I introduced Juracek to my friends
from a hockey team Paleta vlasti,

774
01:16:45,600 --> 01:16:49,434
they were all artists
like Hugo Demartini, Bedrich Dlouhy

775
01:16:49,600 --> 01:16:57,632
and these sculptors created
all these weird machines.

776
01:16:57,800 --> 01:17:01,076
Who else could visualize
a thinking machine, right?

777
01:17:01,840 --> 01:17:07,756
A thinking mechanism. Hand drive.

778
01:17:10,320 --> 01:17:11,912
This is where ideas come out.

779
01:17:13,880 --> 01:17:15,677
They asked me about its capacity,

780
01:17:15,840 --> 01:17:19,389
I told them a healthy man can
create up to 10000 ideas a day

781
01:17:19,560 --> 01:17:22,791
but it wasn't enough for them.

782
01:17:22,960 --> 01:17:30,196
And so someone figured this machine
could be powered by a horse gear.

783
01:17:30,360 --> 01:17:35,229
They want to use a head of cattle
but I won't allow this, sir.

784
01:17:35,400 --> 01:17:39,359
This machine cannot be
powered by an ox.

785
01:17:39,840 --> 01:17:43,549
Pavel had big problems
with finishing works

786
01:17:43,720 --> 01:17:47,838
because the normalization
was getting tougher and tougher

787
01:17:48,000 --> 01:17:56,635
and more and more people were
asking him to cut out this sentence

788
01:17:56,800 --> 01:18:02,670
or the whole scene
and he bravely fought for both.

789
01:18:02,840 --> 01:18:05,718
I think the film is from 90%
what he wanted it to be.

790
01:18:06,680 --> 01:18:11,754
Local idiot called Jump-up
rode me out of Balnibar country.

791
01:18:12,880 --> 01:18:17,032
Once again I felt embarrassed
and turned to this idiot:

792
01:18:17,920 --> 01:18:22,311
Listen, Jump-up, is the watch
going backwards or not?

793
01:18:23,600 --> 01:18:26,876
And he replied: Come on,
what is all this fuss about?

794
01:18:27,040 --> 01:18:29,554
Can't you just enjoy its ticking?

795
01:18:44,120 --> 01:18:46,714
Hanak started as
a documentary filmmaker.

796
01:18:46,880 --> 01:18:48,393
In the second half of the 60's

797
01:18:48,560 --> 01:18:52,917
he made a series of great
documentary essays

798
01:18:53,080 --> 01:18:59,269
and his method of gathering
material, fragments of reality

799
01:18:59,440 --> 01:19:02,671
and shaping them into a new form,

800
01:19:02,840 --> 01:19:06,799
it was also reflected
in his feature debut 322,

801
01:19:06,960 --> 01:19:10,270
which is extracted from a place

802
01:19:10,440 --> 01:19:13,910
between a documentary
and a feature film.

803
01:19:14,800 --> 01:19:18,475
Citizens, for crossing the road
use zebras only.

804
01:19:20,320 --> 01:19:26,873
Lady in a black coat, yes,
you, walk back. And try again.

805
01:19:27,640 --> 01:19:29,949
Young lady, is this what
they taught you at school?

806
01:19:31,800 --> 01:19:36,828
This does not apply to you.
Don't smoke on a street.

807
01:19:39,320 --> 01:19:48,479
I was stroke by Jan Johanides
and his book Privacy.

808
01:19:48,640 --> 01:19:51,757
I guess I'd read the book once
but very thoroughly

809
01:19:51,920 --> 01:19:54,992
and I didn't want to read
it ever again

810
01:19:55,160 --> 01:19:58,436
because I was so fascinated
by its story.

811
01:19:58,600 --> 01:20:03,310
The main character gets
into an extreme situation

812
01:20:03,480 --> 01:20:08,474
and has to recapitulate
and reevaluate his whole life

813
01:20:08,640 --> 01:20:11,632
so it wasn't just me
who felt this way back then.

814
01:20:11,800 --> 01:20:14,837
The whole society needed it.

815
01:20:15,000 --> 01:20:23,032
And I wanted to preserve
a spirit of Johanides' story.

816
01:20:23,200 --> 01:20:26,397
He trusted me and let me
do things my way.

817
01:20:43,880 --> 01:20:48,032
I filmed Johanides' work,

818
01:20:48,200 --> 01:20:51,556
he was full of authentic
experiences and I felt it too,

819
01:20:51,720 --> 01:20:59,991
it was an image of Bratislava
as I knew it in the early 60's.

820
01:21:00,160 --> 01:21:03,391
The main shift in the story was

821
01:21:03,560 --> 01:21:09,112
that the main character
in the film was a communist

822
01:21:09,280 --> 01:21:14,832
which was not very in,
especially in The New Wave,

823
01:21:15,000 --> 01:21:20,358
and as I talked to my two Czech
colleagues they flinched a bit.

824
01:21:21,480 --> 01:21:23,596
Where does Maria Valkova lie?

825
01:21:24,440 --> 01:21:28,069
Valkova? If she lied in the East
part, she's not here anymore.

826
01:21:28,240 --> 01:21:30,231
She's my mother.

827
01:21:30,400 --> 01:21:32,630
What's her name?
Let me check in the book

828
01:21:36,080 --> 01:21:43,395
I personally feel very attached
to Hanak's feature debut 322.

829
01:21:43,560 --> 01:21:49,999
Here the main character as well
as topic are unique and uncommon

830
01:21:50,160 --> 01:21:57,032
because it is about a man
who seemingly lacks all qualities

831
01:21:57,200 --> 01:22:00,397
necessary for a film character.

832
01:22:00,560 --> 01:22:04,633
He actually impersonates
mediocrity, commonness

833
01:22:04,800 --> 01:22:09,828
but the more we get to know him
the more we realize he is a proof

834
01:22:10,000 --> 01:22:14,630
of a drama hidden inside everybody,

835
01:22:14,800 --> 01:22:18,475
every one of us lives his
big story, deals with big things.

836
01:22:22,760 --> 01:22:26,514
As for characters in my films,

837
01:22:26,680 --> 01:22:29,240
I myself wrote some of them,
sometimes I had a co-writer,

838
01:22:29,400 --> 01:22:31,960
many of them were written
for concrete actors.

839
01:22:32,120 --> 01:22:36,238
Mr Lohnisky used to play
episodic roles in Czech films

840
01:22:36,400 --> 01:22:42,111
but I casted him into
the main role and he was great.

841
01:22:42,280 --> 01:22:46,592
He didn't have to act because
of his own inner authenticity.

842
01:22:46,760 --> 01:22:52,676
Mrs Vinicka, the biggest star
of then East-European cinema

843
01:22:52,840 --> 01:22:57,311
was a beautiful woman
and an amazing person.

844
01:22:57,480 --> 01:23:02,759
She was surprised when I told
her not to act but to believe

845
01:23:02,920 --> 01:23:11,316
even though her partner
was Mr Abrham whom I admired.

846
01:23:11,480 --> 01:23:12,993
He was just fantastic.

847
01:23:16,880 --> 01:23:25,515
Many of the non-actors
who worked on my films,

848
01:23:25,680 --> 01:23:30,549
they'd speak in their own
words, live their own lives,

849
01:23:30,720 --> 01:23:35,555
like Vlado Weiser who couldn't
be listed as a co-writer

850
01:23:35,720 --> 01:23:45,834
but the words and situations
come from his own life

851
01:23:49,040 --> 01:23:51,918
- Are you a boy or a girl?
- A human being.

852
01:23:52,080 --> 01:23:56,119
- Don't be cheeky, your ID.
- What's this? Are you on duty?

853
01:23:56,280 --> 01:23:58,919
- No.
- Well, come with me, then.

854
01:23:59,520 --> 01:24:03,638
It was by a documentary
style of shooting

855
01:24:03,800 --> 01:24:10,148
that The New Wave contributed
to innovating feature films.

856
01:24:10,320 --> 01:24:14,632
Feature films were in a crisis

857
01:24:14,800 --> 01:24:24,471
and documentaries helped
bring them back to life.

858
01:24:58,440 --> 01:25:02,718
Celebration in the Botanic Garden
is the only film which defies

859
01:25:02,880 --> 01:25:13,791
the tendencies to portray gloomy
and skeptical visions of 1969.

860
01:25:13,960 --> 01:25:20,229
It is a powerful geyser of joy
of life and playfulness

861
01:25:20,400 --> 01:25:26,953
which assembles student mischief
from Havetta's school years,

862
01:25:27,120 --> 01:25:31,477
world of flower children, slapstick.

863
01:25:31,640 --> 01:25:39,957
It is a paradox that this playful
and nostalgically optimistic film

864
01:25:40,120 --> 01:25:47,549
was made by the first one
to pay for normalization.

865
01:25:48,200 --> 01:25:50,873
Havetta died in 1975.

866
01:26:09,280 --> 01:26:12,636
Celebration is a different film

867
01:26:12,800 --> 01:26:17,794
and today when we speak about
a postmodern type of film,

868
01:26:17,960 --> 01:26:23,398
Celebration shows many features
of something that came much later

869
01:26:23,560 --> 01:26:26,518
and nobody understood it.

870
01:26:26,680 --> 01:26:34,997
Although now we appreciate Havetta's
faithfulness to his country,

871
01:26:35,160 --> 01:26:41,429
his childhood, his home,
he was not accepted in his times.

872
01:26:41,600 --> 01:26:46,196
He was accused of using
Czech instead of Slovak humor.

873
01:26:46,360 --> 01:26:51,639
There were those who loved and
those who hated this kind of film.

874
01:26:51,800 --> 01:26:54,917
Among those who hated it

875
01:26:55,080 --> 01:27:01,428
were rather those whom
I considered friends or fans.

876
01:27:07,000 --> 01:27:12,597
We loved what they called
an intimate, or naive art,

877
01:27:12,760 --> 01:27:15,877
a kind of mystical art,
a direct relationship.

878
01:27:16,400 --> 01:27:22,794
See, mystique creates a direct
relationship between a man and God.

879
01:27:22,960 --> 01:27:28,273
And this direct relationship
to sources with a mystical aspect,

880
01:27:28,440 --> 01:27:32,718
Havetta's perception of folklore,

881
01:27:32,880 --> 01:27:38,079
it was closely connected with his
strong experiences from childhood.

882
01:27:39,960 --> 01:27:49,232
A man should love his country,
or his nation, to hell with this.

883
01:27:49,400 --> 01:27:52,790
We wanted to love our identity,

884
01:27:52,960 --> 01:27:57,715
something we belong to with
our soul, with our tradition

885
01:27:57,880 --> 01:28:00,189
and it was much more important.

886
01:28:00,360 --> 01:28:05,229
This is what folklore is about,
a creative need to exist,

887
01:28:05,400 --> 01:28:11,999
to return to something original
like light, soil, trees, water.

888
01:28:12,160 --> 01:28:25,073
Something pagan which at the same
time contains instructions for use

889
01:28:25,240 --> 01:28:29,392
but it does not lack the intensity
of the original experience.

890
01:28:29,560 --> 01:28:38,070
That's why there are bees, trees,
a botanic garden, wine, euphoria,

891
01:28:38,240 --> 01:28:40,470
an enthusiasm about life itself.

892
01:28:40,640 --> 01:28:43,393
This enthusiasm is not biased,
it is purely original.

893
01:28:45,120 --> 01:28:46,439
You, take a look at yourself.

894
01:28:50,520 --> 01:28:53,034
Now I've got the job, pension

895
01:28:54,560 --> 01:28:59,270
Havetta was choosing from Slovak
actors and went for those

896
01:28:59,440 --> 01:29:02,193
who were capable of
an instant expressive acting.

897
01:29:02,360 --> 01:29:06,956
He tried Blazkovic
and it was the right guess.

898
01:29:07,120 --> 01:29:08,439
I'm fed up with this.

899
01:29:10,480 --> 01:29:11,993
How do I look, huh?

900
01:29:12,480 --> 01:29:16,155
Then there were non-actors,
people he knew from his village,

901
01:29:16,320 --> 01:29:22,589
or people he met somewhere,
some of his friends, often artists.

902
01:29:22,760 --> 01:29:28,153
Artists are capable of fooling
around in a very honest way.

903
01:29:33,200 --> 01:29:39,548
The circumstances of shooting
Celebration in the Botanic Garden

904
01:29:39,720 --> 01:29:46,034
were congenial, they wrote it,
shot it and lived with it

905
01:29:46,200 --> 01:29:49,431
just as if they were celebrating
in the botanic garden.

906
01:29:49,600 --> 01:29:54,037
The title not only expresses
what they meant to say

907
01:29:54,200 --> 01:29:59,069
but also their attitude towards
their lives, work, methods,

908
01:29:59,240 --> 01:30:05,156
it's all in the title
and the crew lived up to it.

909
01:30:05,320 --> 01:30:11,998
During the shooting it was often
more important for filmmakers

910
01:30:12,160 --> 01:30:18,952
to get Vladimir Popovic paint
a wall in the background

911
01:30:19,120 --> 01:30:25,355
than to control actors
in the first plan.

912
01:30:27,920 --> 01:30:31,469
I have always been fascinated

913
01:30:31,640 --> 01:30:37,795
by the absolute freedom in this
film which is so hard to achieve.

914
01:30:37,960 --> 01:30:43,239
It is easy to be playful in your
life but it's so hard in art

915
01:30:43,400 --> 01:30:48,190
because of all the conventions
and rules you learn at school,

916
01:30:48,360 --> 01:30:50,635
from colleagues, other films.

917
01:30:50,800 --> 01:30:59,833
Havetta's ability to set himself
free when making Celebration

918
01:31:00,000 --> 01:31:03,436
was the most important thing
to me, it was a geyser of freedom

919
01:31:03,600 --> 01:31:05,397
with no limitations whatsoever.

920
01:31:37,320 --> 01:31:40,596
All those characters were my
friends or people I knew,

921
01:31:40,760 --> 01:31:45,675
my mum would collect material
for me, I'd visit her very often

922
01:31:45,840 --> 01:31:49,389
and went see those people as well.

923
01:31:49,560 --> 01:31:56,432
The main character Frantisek
Slimacek died in the age of 92.

924
01:31:56,600 --> 01:31:59,831
He was the real hero of Countrymen

925
01:32:00,000 --> 01:32:02,753
because he experienced it
and I got to know him.

926
01:32:02,920 --> 01:32:04,831
My dad was his teacher.

927
01:32:11,360 --> 01:32:13,874
Dyer Otcenas chairman of KSC,

928
01:32:14,040 --> 01:32:17,112
smallholder Zejvala, chairman
of a minority co-op

929
01:32:17,280 --> 01:32:19,919
and foreman Macala,
the municipal secretary

930
01:32:20,080 --> 01:32:22,992
have taken up authority
with all implications

931
01:32:23,160 --> 01:32:25,799
and the world has split into two.

932
01:32:25,960 --> 01:32:29,635
I was driving with Jasny
through Vysocina hills

933
01:32:29,800 --> 01:32:31,631
where he wanted to find it.

934
01:32:31,800 --> 01:32:33,711
For two weeks he'd talk
about stars and pipes

935
01:32:33,880 --> 01:32:35,916
but we never found anything.

936
01:32:36,080 --> 01:32:39,197
But then Carda Kucera appeared

937
01:32:39,360 --> 01:32:46,436
and I'll never forget our trip
to the cartographic institute

938
01:32:46,600 --> 01:32:53,597
where they showed him
all their postcards

939
01:32:53,760 --> 01:32:58,231
and he rummages in the pile
of pictures for almost an hour,

940
01:32:58,400 --> 01:33:02,359
then he picked three postcards,
put them on a table

941
01:33:02,520 --> 01:33:05,512
and the first location portrayed
eventually became our location,

942
01:33:05,680 --> 01:33:06,795
a village Bystra by Policka.

943
01:33:07,480 --> 01:33:11,109
When we agreed on the title,
that was it, the horseshoe,

944
01:33:11,280 --> 01:33:13,396
even visually it was a perfect fit.

945
01:33:13,560 --> 01:33:20,477
It was early evening and I started
to dance with joy there

946
01:33:20,640 --> 01:33:25,839
and as I was dancing, people
started to leave the pub,

947
01:33:26,000 --> 01:33:28,195
one of them was Mr Uncovsky,

948
01:33:28,360 --> 01:33:32,148
who later became my advisor,
a director of local amateur actors.

949
01:33:32,320 --> 01:33:35,437
Mr Uncovsky, can we do it here?

950
01:33:35,600 --> 01:33:37,431
And he said: You can do
whatever you want to.

951
01:33:41,960 --> 01:33:45,191
We didn't talk too much
and Kucera said:

952
01:33:45,360 --> 01:33:49,114
Vojta, speaking of Countrymen,

953
01:33:49,280 --> 01:33:59,110
do you want to use a perspective
camera like Toland in Citizen Kane?

954
01:33:59,280 --> 01:34:08,678
I said: No, I want a flat picture,
the way gothic paintings are done.

955
01:34:08,840 --> 01:34:12,276
Jarda said he would have to order
a zoom lens from Paris

956
01:34:12,440 --> 01:34:15,034
and that's how we shot landscapes.

957
01:34:15,200 --> 01:34:18,397
He was in charge of the visual
aspect of this film,

958
01:34:18,560 --> 01:34:25,432
I'd just say I wanted a close-up
or a mid shot, or a wide shot

959
01:34:25,600 --> 01:34:30,913
but I'd leave the composition
up to him because he did it great.

960
01:34:31,440 --> 01:34:33,749
Release our vicar, he's innocent.

961
01:34:34,920 --> 01:34:39,277
You won't tell us who is or isn't
innocent. It will go to show.

962
01:34:40,160 --> 01:34:43,516
He is innocent and
if you don't release him,

963
01:34:44,600 --> 01:34:49,037
we'll arrange another gathering
from all around this place.

964
01:34:50,080 --> 01:34:54,870
I wanted my characters to speak
in a Moravian dialect.

965
01:34:55,040 --> 01:34:59,033
In the first version of the script
I wrote dialogues in Kelc dialect

966
01:34:59,200 --> 01:35:03,955
and my wife Kveta said
she didn't understand it.

967
01:35:04,120 --> 01:35:11,993
That slang was incomprehensible
so I wrote it in Czech.

968
01:35:12,160 --> 01:35:15,277
Babkal and Brodsky came
from Moravia,

969
01:35:15,440 --> 01:35:18,193
they were capable of making
the language distinctive.

970
01:35:18,360 --> 01:35:24,879
Mensik used his own, Brno slang.

971
01:35:29,280 --> 01:35:32,238
And Matuska was the best for me.

972
01:35:32,400 --> 01:35:36,188
Some people told me
to cast a real actor

973
01:35:36,360 --> 01:35:38,237
but Matuska did a great job.

974
01:35:38,400 --> 01:35:43,269
As he is saying goodbye to his dead
wife, it came out almost biblical,

975
01:35:43,440 --> 01:35:49,231
as it is shot with the zoom lens
as the dead girl is leaving him

976
01:35:49,400 --> 01:35:55,748
who had danced with him one last
time, told him he'd leave soon

977
01:35:55,920 --> 01:35:59,913
and then he gets killed by the bull.
That's how it actually happened.

978
01:36:08,200 --> 01:36:10,953
I've always loved masks,

979
01:36:11,120 --> 01:36:16,513
I went to Vienna and there
they had all kinds of magazines.

980
01:36:16,680 --> 01:36:19,911
Suddenly I found a magazine
with pictures of masks

981
01:36:20,080 --> 01:36:23,470
which are still being made in
Austria, Germany and Switzerland.

982
01:36:23,640 --> 01:36:26,632
So I took the magazine,

983
01:36:26,800 --> 01:36:33,672
found two ladies who made the masks
at Barrandov costume department.

984
01:36:33,840 --> 01:36:37,071
I wanted to have Death there.

985
01:36:42,480 --> 01:36:44,914
The first version was three
and a half hours long.

986
01:36:45,080 --> 01:36:49,596
After I immigrated they destroyed
it and the copy has disappeared.

987
01:36:49,760 --> 01:36:54,914
President of Cannes film festival
saw the copy, he was my fan,

988
01:36:55,080 --> 01:37:01,235
and after watching the film
he cried and told me:

989
01:37:01,400 --> 01:37:04,915
Jasny, you've got to cut the film
down to two hours

990
01:37:05,080 --> 01:37:08,595
because you have no publicity,
no money, you have nothing.

991
01:37:08,760 --> 01:37:17,190
So I went to see my friend, editor
Jan Kucera at FAMU

992
01:37:17,360 --> 01:37:21,751
and asked him how to edit it.

993
01:37:21,920 --> 01:37:25,151
He had seen it a hundred times,
gave me some instructions

994
01:37:25,320 --> 01:37:29,108
and I used 90% of them.

995
01:37:29,640 --> 01:37:31,039
A glass of rye.

996
01:37:39,000 --> 01:37:40,433
Politics is a bitch.

997
01:37:40,600 --> 01:37:45,993
I'm telling you there must be war.
People will be fighting each other

998
01:37:46,160 --> 01:37:48,310
until there is nothing but
a cow and a fanner left

999
01:37:48,480 --> 01:37:51,472
and these two will found
better generations.

1000
01:37:51,640 --> 01:37:58,876
All My Good Countrymen is a summary
as well as a reconciliation

1001
01:37:59,040 --> 01:38:04,831
which came in a time when
everything started from a scratch.

1002
01:38:05,000 --> 01:38:09,312
The first public screening
took place in July 1969

1003
01:38:09,480 --> 01:38:12,278
when normalization was beginning.

1004
01:38:12,440 --> 01:38:14,670
In the next few months

1005
01:38:14,840 --> 01:38:18,116
the whole Czechoslovak New Wave
will be dispersed,

1006
01:38:18,280 --> 01:38:22,956
some will immigrate, some will
never get to make films anymore,

1007
01:38:23,120 --> 01:38:25,634
others will make films after
long years of silence,

1008
01:38:25,800 --> 01:38:31,079
some will bend down,
others will stand straight

1009
01:38:31,240 --> 01:38:34,755
but one thing is sure,
a myth came into existence here.

1010
01:38:34,920 --> 01:38:38,595
A myth which did not have
enough time to fade away,

1011
01:38:38,760 --> 01:38:40,910
neither to be properly evaluated.

1012
01:38:41,760 --> 01:38:44,718
I just popped in by chance,
I have a concert in Olomouc.

1013
01:38:44,880 --> 01:38:48,793
I wanted to talk to my dad,
I didn't know.

1014
01:38:49,680 --> 01:38:51,557
What was he saying lately?

1015
01:38:52,680 --> 01:38:53,908
He said he shouldn't
have accepted it.

1016
01:38:55,200 --> 01:38:57,953
He believed they would get
together, he accepted it

1017
01:38:58,120 --> 01:39:02,796
and ended up alone again.
When he felt lonely, he'd say:

1018
01:39:02,960 --> 01:39:07,511
Go and listen if there is anybody
singing in the field

1019
01:39:08,040 --> 01:39:16,550
The main importance of the sixties
is connected with national identity.

1020
01:39:16,720 --> 01:39:24,195
I think that the reaction
to the Soviet invasion

1021
01:39:24,360 --> 01:39:30,993
was much stronger
than it would have been

1022
01:39:31,160 --> 01:39:35,836
without the Czechoslovak film
of the sixties.

1023
01:39:36,000 --> 01:39:43,839
Because many people saw the films
and they felt as if they knew us.

1024
01:39:44,000 --> 01:39:49,279
I think that the profit
which came with the films

1025
01:39:49,440 --> 01:39:58,872
was not only financial,
we profited on countless levels.

1026
01:40:00,440 --> 01:40:03,432
But one thing is for sure,

1027
01:40:03,600 --> 01:40:08,116
this country is much better off
when it supports its film

1028
01:40:08,280 --> 01:40:09,838
than when it does not.

1029
01:40:10,000 --> 01:40:14,357
This is your Rhodos,
this is where you can frolick.

1030
01:40:15,480 --> 01:40:18,916
Let's eat what we've baked.

1031
01:40:20,600 --> 01:40:26,232
But what is it that we've baked?

1032
01:40:28,080 --> 01:40:31,868
What could we have done?
What couldn't we?

1033
01:40:35,520 --> 01:40:39,957
Farewell, my good countrymen.

1034
01:40:42,400 --> 01:40:47,474
Farewell and if we were never
to see each other again.

1035
01:40:49,960 --> 01:40:53,430
May our fate be fulfilled.