This film took 20 years to be seen because the post-’68 Soviet-backed Czechslovakia government unsurprisingly didn’t like it. The film was Drahomíra Vihanová’s feature debut and the political fallout meant she only directed two more fiction films and they were after the end of the Cold War; she died two years ago. The film is based on Jiří Křenek’s autobiographical story, about a bored officer who wakes with a hangover regretting he’d spent all his money boozing, who spends the day wallowing in self pity.
Although he doesn’t do anything all day the film is incident packed with banality: swatting flies, killing rats, affectionately chatting to a young girl (a neighbour). Although the film is not expressionist, it is a representation of Arnost’s (Ivan Palúch) mental state which, in the days when going to church was the prime Sunday activity, was unlikely to be full of joie de vivre particularly with a regretted hangover. It’s part of the Time Frame strand of LIFF2018 where the films’ plots cover no more than 24 hours; though A Squandered Sunday chronology is sometimes confusing. The film starts with a memory of his mother’s funeral and a statement – by a girlfriend? – that he is ‘too far way’. This ‘far awayness’, it becomes clear, is ennui, not one precipitated solely by middle age but also by the Soviet invasion of 1968. Flashbacks to military lectures about nuclear annihilation give Arnost’s ennui a political dimension. When he wakes up Arnost puts on his radio and hears of natural disasters in Italy and Morocco. Clearly, it isn’t just his life that is shit.
Vihanová doesn’t present this in a straightforward way; after all everything is filtered through the disturbed consciousness of Arnost. He looks out of his window several times and there’s always a dog digging a hole next to a blind man. Or is it the same moment many times? She also favours Eisensteinean montage of repeating the same event in rapid succession. Confusion is fed by the repeating shot of the young woman we saw at the start who is mirrored by the young pre-pubescent neighbour and the middle-aged barmaid who wants to marry him. Are they the same person or three ages of women or three characters? Answer: probably all three.
This uncertainty, along with the formal devices, situate Squandered Sunday firmly in the Czech ‘new wave’ and, in a scene where Arnost finds himself interrogating two female sunbathers who’d wandered onto military property, it’s as if the protagonists of Daisies have shown up to wreak more havoc. Their sexy irreverence plant Arnost into even more misery. The absurdism of the film is typically Czech and is perfect for puncturing the self-importance of officialdom. In the UK this was likely to be couched in humour, such as the Carry On series, but in Czechoslovakia it was much more painful as it has an existential edge that although you can laugh you know it won’t cure anything.
There a number of translations of the title. The subtitles at the screening suggested A Wasted Sunday, others include Deadly Sunday and Killing a Sunday. It doesn’t matter what it’s called, it is a classic of the Czech new wave.
MUBI celebrated the achievements of Milos Forman, who died in April this year, by streaming two of his earliest films. The first, completed in 1963, comprises two short films put together ‘after the event’ since separately they would have less chance of being programmed. Kdyby ty muziky nebyly or If there were no music concerns an annual celebration (that started in 1961) in the town of Kolin honouring the memory of a famous 19th century composer František Kmoch who was born close to the town in Bohemia where he opened a music school. (Forman was himself from Bohemia.) Two local brass bands are scheduled to perform at the ceremony. The bands are mainly made up of older amateur musicians but also include some young men. The film’s main plot device is a motorcycle race that takes place on the local streets at the same time as the concert. One young man in each band daydreams about riding a motor bike and absents himself from the performance in order to watch the race. Both are dismissed by their bands but then sign up for the other band. IMDb categorises this film as a documentary but it isn’t. Although the majority of the band members are non-professionals, there are professionals from what would later be recognised as Forman’s ‘stock company’ in leading roles. Just 33 minutes long, the film was shot on 35mm equipment borrowed from the Barrandov Studio.
Konkurs (Audition) (47 minutes) was the first of the two films to be completed and was a more ‘personal’ project for Forman which was expanded from an initial idea for a 15 minute film shot on 16mm using Forman’s own camera (operated by the great Miroslav Ondricek). The link with the brass band film is the attempt to prepare musicians but this time it’s a talent show for girl singers (and their accompanists) auditioning at the Semafor Theatre in Prague. Again, as in the first film, the near-documentary coverage of the audition is provided with a fictional second narrative in which two young women are picked out from the group and given their own (separate) back stories. One of these two, Vera Kresadlova (just 18 at the time), later became Forman’s second wife. She’s shown singing successfully in a group with a rock ‘n roll band, but then finds it impossible to perform on her own for the audition. The other young woman lies to her boss at a beauty salon to get time off to sing with her guitar with accompaniment from a young man also on an acoustic guitar.
There are several online sources for detailed reviews/analyses of Auditions. One is by Darragh O’Donoghue on ‘Senses of Cinema’. Another is on Second Run’s site for its DVD release. There is no point in me repeating what is laid out on these sites. Instead I’ll make my own personal response. I like these two short films very much. Watching them makes me very nostalgic for a variety of reasons. I was a young teenager around this time and I recognised all these young people – and the older ones too. Some of the reviews are quite snotty about the music and the question of the ‘generation gap’. It is all very familiar from the UK in the 1960s, especially the pop music. When the Beatles first appeared in the UK at the end of 1962/early in 1963 we had much the same mix of musical styles – rock ‘n roll, the R & B bands, folk music, trad jazz and even the hangover of skiffle. The local bands were a long way from the polished, orchestrated soft pop we saw on TV. I recognised many of the tunes – though the Czech language songs had very different lyrics. Brass bands were a major part of the lives of workers and their families across much of industrial Northern England and the culture clash of the brass band v. TV features in A Kind of Loving (UK 1962). I can see why Forman wants to poke fun at the bandleader in If there were no music played by Jan Vostrcil but I think he still has some feeling for the traditions of the band. The audition montage in Konkurs is repeated in Forman’s first American film, Taking Off (US 1971), a film I really enjoyed on its circuit release in 1971.
It’s good to see films from the Czech New Wave – so influential on later British cinema – and it’s worth remembering the 50th anniversary of the ‘Prague Spring’ that ended with Russian tanks taking control of the city and leading to Forman’s decision to move permanently to America. I haven’t seen all his American films, partly I think because I was slightly disappointed by his embrace of American culture. He tended to see Taking Off as a failure, blaming himself for making a European art film in America. I saw it the other way round with him showing American filmmakers how to make more interesting films. A Blonde in Love (1965) was the other MUBI screening and a review will be posted soon.
Vera Chytilová died in March and Daisies is probably her most celebrated film; it is brilliant. Two Marias (Ivana Karbanova and Jitka Cerhova) waltz through the film on an anarchic romp which starts off with them eating apples. The symbolism is obvious, as is the bananas, sausages and hardboiled egg that they snip at with scissors while a would-be lover claims he’s in love (by which he means lust). It’s slightly peculiar to say that the girls (Peter Hames in The Czechoslovak New Wave states they are 17) are trampling on bourgeois sensibilities in a so-called communist state, but the privileged middle classes obviously existed there too. In a nightclub, where the clientele are being entertained by the Charlston, the Marias randomly drink others wine and generally make a nuisance of themselves. They allow themselves to be taken to restaurants by older men only to bail out before the men have their ‘wicked way’. They also decimate a banquet, evidently laid out for an audience listening to Wagner’s Twilight of the Gods (where the bourgeoisie meet their fate).
The film’s epitaph sums it up: ‘This film is dedicated to those whose sole source of indignation is trampled on trifle’. There’s plenty of trifle in the final scene, flying around in true slapstick fashion and the anarchic comedy of Max Sennett is clearly a touchstone for Chytilová as parts of the film are speeded up in the manner that ‘silent movies’ used to be. Czech surrealism, such as Jan Svankmajer (in scenes of pixilation – animation using live actors), is also evident as some of the art movements of the 1960s, such as ‘cut ups’. It’s a terrific brew of full of humour and brio and, most of all, feminism.
The film opens, and ends, with images of bombing. I took them to be a reference to the Vietnam war. The girls’ adventure starts by them deciding that everything’s spoiled in the world. Hence, their assault on bourgeois sensibility is an attack on the way the world was at the time; and it’s still like that. Clearly Chytilová was attacking more than trifles.
I was reminiscing about university with a friend and she remembered that she was part of the ‘300 group’ that aimed to get 300 MPs into Parliament. That was over 30 years ago! This film’s nearly 50 years old and the battles for equality between the sexes still need fighting. Young women could do far worse than learn some attitude from these Marias.
This fascinating youth pic, from the Czech New Wave, both ‘universalises’ the teenage (or early-20s) experience and sets in squarely in its time. The time was just before the ‘Prague Spring’, but clearly government influence was already loosening, particularly with the relatively graphic nudity and the scene where the youth union meeting is satirised. Being a teenager yearning for a (sexual) relationship is the predominant narrative of youth pics and Czechoslovakia in the ’60s was no different. In fact, it was accentuated by the 16:1 ratio of women to men in the blonde’s (Andula) town, Zruc. To counteract the problem the local factory’s ‘social director’ persuades the army to move a garrison of men to the vicinity. However, they turn out to be middle aged reservists of little interest to Andula and her friends.
The troops’ arrival is one of many comic set pieces in the film. The girls, and the town, are full of hope until the balding men arrive who promptly march to their barracks singing a ridiculous song of blood and glory. Similarly in a dance hall three men bicker amongst themselves on how try of pick up the girls. They send a waiter with a bottle but it’s delivered to the wrong table. Writer-director Milos Forman’s observes all this affectionately, he is not mocking the small town travails of his characters.
As was much European cinema in the ’60s, the Czech New Wave was a ripple of the French nouvelle vague and the long conversations between characters reminded me of early Godard and there is a wonderful moment of Czech surrealism where a necktie is found around a tree when Andula walks through the wood for an assignation that never happens. The dancehall scene reminded me of the one in Billy Liar, shot three years earlier, emphasising how, in the sixties, youth culture was becoming internationalised.
Forman cast locals, mostly non actors, giving the film a realist edge that adds to the charm; it’s not surprising that Ken Loach often cites it as a favourite film. Its political edge is seen when the youth union meeting, of women, is asked to vote to be chaste. Only Andula, hiding at the back, doesn’t put up her hand in favour emphasising the conformism expected by the Establishment at the time. However, while she is something of a rebel, Andula is also a victim; she is betrayed by the smooth talking pianist. Their ‘love’ scene, with the recalcitrant blind, is funny. Overall the film is suffused with a melancholy tone; it entertains but doesn’t forget the pathos of young lust.