By Peter Hames
The 1st learn in English to check key issues and traditions of Czech and Slovak cinema. Linking interwar and postwar cinemas including advancements throughout the post-Communist interval, the amount considers interactions between topic, style, and visible variety and how within which more than a few kinds and traditions has prolonged throughout various old classes and political regimes. Czech and Slovak cinema are a distinct street into primary eu movie background.
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Extra info for Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema)
Valentine the Kind, made during the Nazi Protectorate, provides a similar exercise in reassurance and escapism. This time, Nový is a clerk in an insurance office who is tricked by two colleagues into believing that he has won a fortune on the lottery. As the winnings are due in three days, he spends all his savings, buys a new house and car and gets seriously in debt. In the end, by a trick of fate, it turns out that he really has won the lottery. The film is a partial continuation from Kristian in that people’s behaviour towards the new ‘millionaire’ is determined entirely by his status.
Marketa Lazarová, which was voted the best Czech film ever made in a poll by both Czech and Slovak critics in 1999, goes from strength to strength in terms of its critical reputation and Vlácˇil’s films, eight years after his death, are finally beginning to attract international attention. The film itself is a remarkable achievement in terms of its aesthetic appeal and originality, which was certainly inspired by the original novel by Vladislav Vancˇura. The film was based partly on Vancˇura’s novel, first published in 1931, and partly on his unfinished study, Pictures of the History of the Czech Nation (Obrázy z deˇjin národa cˇeského, 1939–40) but, while Vancˇura’s novel provided no historical clues and was intended as an ‘autonomous’ work, Vlácˇil deliberately tried to create a sense of the thirteenth century.
Relationships between Jánošík and the other bandits are developed in greater detail with the characters of his close friend Uhorcˇík, his lieutenant Ilcˇík and the treacherous Gajdošík well to the fore. In both parts of the film, there is also light relief in the character of Uhorcˇík’s father, played by Jozef Kroner, a sympathetic and comic figure whose unfamiliarity with weapons provides a running gag. Gajdošík kills old Uhorcˇík before betraying the group. Here, the plot developments also recall the conventions of the western.
Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema) by Peter Hames