Regie:
Tomáš Vorel st.Kamera:
Marek JíchaBesetzung:
Tomáš Vorel ml., Jiří Mádl, Eva Holubová, Tomáš Matonoha, Martina Procházková, Lenka Haluzová, Zuzana Bydžovská, Max Kušiak, Tomáš Hanák, Jan Kraus (mehr)Inhalte(1)
At first glance, the film concerns a group of high school friends who like making graffiti. But hidden conflicts affecting the young generation eventually rise to the surface: conflicts between conformity and absolute freedom, between responsibility and living impulsively, between a school experience divorced from reality and the need to seek real experiences. The main characters are gymnasts Petr and Pavla, their teacher Tomáš, and school director Mirka. The viewer is taken from a traditional school environment to a dark, nighttime whirl where graffiti artists live as they wish. There, the tired, stereotyped city is transformed before our eyes. (Verleiher-Text)
(mehr)Kritiken (8)
Even though I don't consider graffiti great art and I avoided grammar school, I am still glad that it is still the same two years after leaving high school and will be for a long time to come. I see the problem more in the creative will of a generational statement, which cannot work thanks to the often grotesque humor, into which Vorel pushes the film too violently (cameos of the cellar-dwellers, interviews aiming to provide a crazy catchphrase). I’m giving it a weaker, but still well-deserved 4 stars, taking into consideration how I'll perceive it in ten years. PS: Mádl is incredible and his bright top Czech acting future is already opening doors for him.
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Vorel habe ich gern und es freut mich, dass ihm auch ein Projekt gelungen ist, welches ich persönlich von Anfang an für einen absoluten Unsinn gehalten habe. Jedoch überraschenderweise ließ sich diese Sonde ins Leben zeitgenössischer Teenager selbst von der Unentschlossenheit des Regisseurs nicht aufhalten, ob man authentisch sein oder sich dem Stil des Theaters Sklep, wo bis zum äußersten übertrieben wird, anlehnen soll. Der bekannte junge tschechische Schauspieler Mádl ist perfekt und vollends überzeugend, Vorel Jr. ist zwar etwas halbherzig, aber dennoch ordentlich. Die sprichwörtlichen alten Kosaken kommen doch ganz gut rüber - so zum Beispiel Holubová, Bydžovská, Schmitzer, Matonoha, ich würde sie als wirklich exzellent beschreiben, Hanák und die Jungs vom Theater Sklep reiten wieder einmal auf ihrer Erfolgswelle des Filmes Smoke ... Und insgesamt, na ja es passt eben nicht. Vorel arbeitet mit einer Halbkarikatur, manchmal würde ich sagen, dass The Can mit einer auf herschafftszeitenähnliche Art antwortet (sowohl hinsichtlich der Sprachewahl als auch gemessen an der Schauspiellage), manchmal schlüpft er in die ursprüngliche Anstrengung, "über alles zu spielen, egal was es kostet" (die Selbstverletzungs-Episode ist ernst am Überhang). The Can ist in der Tat nicht perfekt, jedoch an einigen Stellen sind die Aufnahmen doch perfekt gemacht, an einigen Stellen ist der Film perfekt koordiniert und in einigen Fällen fröstelt er regelrecht. An vielen Stellen zwingt er einen schlichtweg zum Lachen, manchmal sogar auf Kosten von Lachkrämpfen. Tatsache ist jedoch, dass ich mich gute 105 Minuten lang habe von Vorels Perspektive auf die heutige Jugend unterhalten lassen, die weder zu erwachsen noch zu kindisch ist. Sie ist ... nun ja, eben nur wie Vorel. Und das sagt ja schon alles. 70%
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“I’m not being cheeky, I’m being honest." Me too. A crock of shit. At least at the beginning. But after a while it gets much better, increasing to great in the second half. Vorel relies quite heavily on leaving us in the dark about if he means this seriously or not. Occasionally it rides a slapstick wave we saw Elf, then there are fragments of drama, teenager comedy and countless other styles and genres - often all in one single scene (e.g. Mádl’s skulking departure from school). The greatest downside, apart from genre fluctuation, is the sedentary form which is more like something out of an old black and white movie than something for teenagers.
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One of my favorite Czech comedies. Mádl and Vorel were flawless. The cast is absolutely amazing!!! The plot didn't play such a big role here, because the properly posed humor is the strongest aspect. Kraus – custom-made fantastic!
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I passed on this movie for a long time. Now I'm thinking: “Why?" But then I just wave my hand over it: "Maybe it's better that way. Today was the right mood for it..." Yes, you have fun at some parts, sometimes you’re saying to yourself: "That's exactly what we did. Ugh, goniometric functions!", sometimes you might be sad... Sometimes I have the feeling that we can't get enough of these "Czech" films. Every film that goes to the cinema must inexorably smell like "ours". How would a true popcorn spectacle end up in this country? And why am I writing about this here? Yeah, the Lord moves in mysterious ways... ;) Oh and: I don’t know why, but it seems to me that Czechs still haven’t learned how to film a kiss. I don't know what it is, but it seems that way to me. I'd rather watch an American one. Yikes.
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The only thing I knew from The Can was that one famous scene with the bridge and it’s only now that I watched the entire film. Sometimes it is funny, sometimes not so much, and there are a few deaf spots, but the overall impression is not so bad when I look back at other Czech films of the last ten years. In short, a sometimes very honest probe into high school classrooms that benefits especially from the cast and the premise.
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Most of the actors were overplaying while the rest of them were desperately trying to deliver a decent acting performance but the script didn't help them in any way because the dialogue was mostly pathetic. All the characters were punchworthy without exception and I had no idea what the creators were trying to convey. While Lenka Haluzová in the role of Klára could at least distract the viewer in a way of her own, Martina Procházková would do better if she started sewing instead like Pavla. You don't often see such poor acting, and her voice was just bland. In the end, I'm giving one star for the scene with the electrical cable and for the way Ivana Chýlková managed to calm down her angry husband.
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Funny it is and moreover it's quite a critical movie, which I actually like the most about Vorl's. It can capture social problems, it can also capture individual problems of each character. The fact that the whole thing is so inconsistent unfortunately belongs to it and there's probably not much that can be done about it. But some scenes here are truly memorable.
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