Zde jsou lvi
Réalisation:
Václav KrškaScénario:
Oldřich DaněkPhotographie:
Jaroslav TuzarMusique:
Jan F. FischerActeurs·trices:
Karel Höger, Dana Medřická, Jarmila Smejkalová, Alena Kreuzmannová, Bedřich Vrbský, Svatopluk Matyáš, Jaromír Spal, František Kreuzmann st. (plus)Résumés(1)
In 1958, after making a series of biographical films, director Václav Krška recorded an uncompromising snapshot of the contemporary present day based on a screenplay by Oldřich Daněk. Karel Höger portrayed another one of his "torn-apart intellectuals", this time as an engineer named Štěrba, who, in the beginning of the film, seems to groundlessly reject an important proposal by his young colleague. Only gradually do we begin to understand the reasons for Štěrba's hostile behaviour towards his environment and his inclination towards alcohol. The film was so suggestive and critical that, shortly after the infamous Banská Bystrica conference, it ended up locked away in a safe for several years. Although today some elements (e.g. the music) seem relatively archaic, the film Scars of the Past remains one of the most important works of Czechoslovak post-war cinema. The voiceover by the main character, the oblique cinematography which illustrates his frame of mind, the series of night scenes, the play of light and shadow, the femme fatale... all these things entitle us to include Krška's film in the noir cycle. (Noir Film Festival)
(plus)Vidéo (1)
Critiques (2)
The wistful Dana, Fischer's tender music, Höger in a "different" role, the incredibly non-film romance of the expressionless Matyáš and the faded Smejkalová... (who lost her good career forever after her melancholic Klára in 1949). And on top of that, we get the drama at the mine and the regular clashes with the bureaucratic system. It's too bad that the classic Hollywood film Pittsburgh is losing its beauty due to such films.
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It's clear to me why this film was pulled from cinemas for several years because it didn't conform to the ideological norms of the time. Karel Höger is here as a bankrupt creature who drinks a lot, smokes like a factory, and as an ideologically defective person is not in the party, which is why he is subjected to bullying. The personal-party tug-of-wars didn't engage me at first, much less the frequent comradeship, as did the hanging around a certain miner, spiced with a little hint of his wife's infidelity. Fortunately, at around the 50-minute mark there is a turning point, a major flashback that illuminates why things have been happening as they have been, and the acting of Höger, a master of his field, and his beautiful sonorous voice give it all a certain emotional charge. He could play the alcoholic convincingly, and when you add to that a nice cinematography and an emotionally tense, touching ending, just as Václav Krška was able to do, satisfaction prevails in the end. But more in the "seen it and probably once is enough" category, the Socialist odour in the first half was too strong for me.
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Annonces