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Z czerwonym Kielichem. Przedmiot wiary husytów w Trylogii husyckiej Otokara Vavry.

100%
Łazarz R.
Slavia Occidentalis
|
2016
|
issue 73/2
45-56
PL
The study is dedicated to Otokar Vavra’s cinematographic “Hussites Revolutionary Trilogy”. The films were shot in the 1950s as colour motion pictures. The main idea is based on Alois Jirasek’s trilogy and Frantisek Palacky’s philosophy of history combined with some ideological concepts revolving around the communist interpretation of Hussites. The three films: Jan Hus (1954), Jan Žižka (1955) and Proti všem (Against All Odds, 1957) pose some sort of a challenge by showing a religious movement from an atheist’s perspective. Vavra indeed created a work of propaganda, a heroic story of the Czech folk fighting against foreign powers (lords and nobles, crusaders) which had the potential of underpinning the communist ideology in Czechoslovakia. On the other hand, the trilogy took in a new symbolic meaning after the 1968 occupation by the Warsaw Pact.
2
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Otakar Vávra i kino Protektoratu Czech i Moraw

71%
Guzek M.
Przegląd Zachodniopomorski
|
2015
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issue 3
145-163
EN
Otakar Vávra is one of the most interesting directors of the European cinema, and not only because of his perennial professional activity that lasted over 80 years. His formula for creativity consisted in adapting the native literature, in using films to artistically comment on the world, in treating the cinema as a segment of the whole culture, and not as its exclusive centre. The director’s project had to include the 20th-century politics, which tossed Czechoslovakia back and forth from democracy to totalitarianism. After the Munich Agreement or Munich Diktat (September, 1938) Czechoslovakia broke up and what was left was transformed into the Protectorate of Bohemia and Moravia and the Slovak Republic. The Czech cinematography became then a kind of chessboard, a confrontation area for various film directors’ and producers’ ambitions, for directives of the Protector’s Office (Reichsprotektor), for the expectations of the Czechs who collaborated with the Germans, for the courage and meanness of different people. Such were the circumstances under which Otakar Vávra made 12 films; and he was in touch both with conspiring professionals who were building the foundations for the future post-war cinematography (Vladislav Vančura) and with collaborating Barandov dictators (Miloš Havel). In his films appeared German dignitaries’ favourites (Lída Baarová, Adina Mandlová) and victims of the Nazi terror (Anna Letenská). Vávra’s films made during the Protectorate (and all of them have survived) and watched now may be interpreted in numerous ways; one of them is the biographical perspective.
3
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Pasjonujące praskie leporello. Praga, niespokojne serce Europy (1984) Very Chytilovej

51%
Hucko T.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2013
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vol. 12
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issue 21
97-106
EN
Věra Chytilova’s film was created during the culmination of processes related to the Czechoslovak normalization. Prague… is not only a highly stylized film essay that provides the viewer with a fascinating visual experience and deep emotions, but evokes the themes of a substantive philosophical debate in conjunction with the knowledge of Prague’s genius loci. Chytilova’s film considers the history and role of humans, taking as a starting point the history of Prague. Therefore, the film still inspires.
PL
Exciting Prague Leporello. Prague, the Restless Heart of Europe (1984), a film by Věra Chytilová    Věra Chytilova’s film was created during the culmination of processes related to the Czechoslovak normalization. Prague… is not only a highly stylized film essay that provides the viewer with a fascinating visual experience and deep emotions, but evokes the themes of a substantive philosophical debate in conjunction with the knowledge of Prague’s genius loci. Chytilova’s film considers the history and role of humans, taking as a starting point the history of Prague. Therefore, the film still inspires.Film Věry Chytilovej powstał w latach kulminacji procesów związanych z czechosłowacką normalizacją. Praga… jest nie tylko wysoce stylizowanym esejem filmowym, który dostarcza widzowi fascynację wizualną i głębokie emocje, przedstawia także debatę merytoryczną natury filozoficznej w powiązaniu ze świadomością praskiego genius loci. Biorąc za punkt wyjścia historię Pragi, rozważa dzieje i rolę człowieka w nich. Dlatego film ten do dziś inspiruje.
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