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Jiří MenzelKamera:
Jaromír ŠofrMusik:
Jiří ŠustBesetzung:
Václav Neckář, Josef Somr, Vlastimil Brodský, Vladimír Valenta, Alois Vachek, Ferdinand Krůta, Jitka Bendová, Jitka Zelenohorská, Naďa Urbánková (mehr)Inhalte(1)
Während des Zweiten Weltkriegs ist die Tschechoslowakei zwar von den Deutschen besetzt, auf dem Lande bekommt man dies aber kaum mit. Hier lebt der kleine Milos, der gerne einmal – wie sein Vater – bei der Bahn arbeiten würde. Sein erster Fuß in diese Tür ist ein Job als Wärter bei einem kleinen Landbahnhof, wo er einen kleinen aber möglicherweise nicht ganz unwichtigen Teil im Kampf gegen die Nazis beisteuert. (Verleiher-Text)
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Ich habe wohl etwas mehr von dem tschechischen Oscar-prämierten Film erwartet, aber schon das Buch an sich ist kein Meisterwerk. Ich würde die Bewertung bei 70 % sehen. Neckář ist ein netter Kerl, genau wie Somr ein Lüstling ist. Obwohl die Handlung des Films im Vergleich zum Buch übermäßig kompliziert ist, würde ich mich nicht beschweren, abgesehen von dem seltsam geschnittenen Ende. Da hat sich Meister Menzel selbst unterbrochen. Kurz gesagt, es ist ein Klassiker des tschechischen Kinos, den ich wahrscheinlich kein zweites Mal sehen müsste, aber wenn ich ihn immer wieder anschaue, bekomme ich eine ziemlich schwache (aber immer noch) 4* heraus. ()
The Oscar-winning collage on the loss of virginity in the Protectorate was never a film of my dreams. I have always been depressed by the lack of historical accuracy of the costumes and make-up of all the characters. All the scenes from the photo studio, where the famous song from the operetta is playing in the background, are absolutely irrelevant. Neckář is very immature, Somr is sneaky, and Ježková is classically annoying as hell. I simply don't know that type of Protectorate and I don't believe the illusion for a second. And when Brodský sovereignly walks into the solitary performances with his pro-Reich speeches, it's like a different film, which should have been made by someone else and completely differently. ()
In the mid-60s, a new wave from France spilled over into Czech film productions and young filmmakers expressed their desire to shoot completely differently than before, and they were interested in different protagonists and a different storytelling style. Until then, heroism, naturalism, and ideological activism had been required in war and occupation themes. Jiří Menzel went a different way. His film is melancholic and full of poetic stylization. He approached the suffocating atmosphere of the protectorate and the tragic story of a teenage boy as a tragicomedy full of gentle humor and irony. Even the exemplary collaborator, councilman Zednicek played by Vlastimil Brodský, functions more as a harmless fool than a bearer of evil. Menzel does not try to moralize and certainly does not use the pathos so beloved in the 50s. He understands his flawed imperfect characters and judges their actions with indulgence. In addition to the fact that Menzel's early work perfectly suits my taste, Closely Watched Trains also appeals to me for two other reasons. I identified to a considerable extent with the uncertain Miloš Hrma brilliantly portrayed by Václav Neckář, as he reminds me of the naivety of my youth. I understand that character and sympathize with him. Last but not least, it is also appealing to me that Menzel, among the radically experimenting creators of the New Wave, did not lose the desire to tell human stories in his own way and slowly. Overall impression: 90%. ()
A classic of world cinema, perhaps even more appreciated abroad than here. A brilliant portrait of a young man and his sexual frustrations against the backdrop of the difficult times of the Protectorate. Vlastimil Brodsky's portrayal of a Nazi officer and his iconic line "The situation of our armies, fighting for the welfare of all the nations of Europe, whether they like it or not, is most favorable" are unforgettable. The stamping of the young dispatcher's bottom by Somr is probably the most erotic scene in the history of Czech cinema. A well deserved Oscar. ()
The situation regarding lighter women around the railway apprentice Hrma is extraordinarily favorable, but making a breakthrough at the front seems to be a heavy task. Panicked stiffness, sexual frustration, and explosive intoxication in the context of the protectorate blanket. When the station master's whistle prevents a kiss, a car retreats from the station, or Aunty Ježková shows the authorities evidence of a stamp affair, one wonders if, at the lowest speed of frame switching, this could turn into a pretty good silent slapstick. ()
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