Prípad pro zacínajícího kata (1970)

Avaliação/usuário:

7,6/10   

Diretor:

Pavel Jurácek

Writers:

Pavel Jurácek (writer)
Jonathan Swift (novel)

Release Date:

3 Agosto 1970 (Czechoslovakia)

Plot Keywords:

Based On Novel

Awards:

1 win

Comentários dos usuários:

DOWN THE RABBIT HOLE AND OUT AGAIN

Cast

Lubomír Kostelka	...	Lemuel Gulliver
Klára Jerneková	...	Markéta
Milena Zahrynowska	...	Dominika
Radovan Lukavský	...	Profesor Beiel
Jirí Janda	...	Patrik
Ludek Kopriva	...	Vilém Seid
Milos Vávra	...	Emil
Miroslav Machácek	...	Munodi
resto do elenco por ordem alfabética:
Nina Bártu	...	Kojná
Jindrich Bonaventura	...	Komorník
Pavel Bosek	...	docent Baux
Slávka Budínová	...	Vilma Seidová
Vítezslav Cerny	...	Kat
Eduard Dubský	...	Prefekt
Vera Ferbasová	...	Munodiová
Rene Gabzdyl	...	Povalec
Natasa Gollová	...	Referentka
Jirí Hálek	...	Guvernér
Petr Hapka	...	Klavírista
Milos Hlavac	...	Usvedcovatel
Frantisek Holar	...	Vedoucí dobrovolník
Miroslav Homola	...	Pravnuk trubace Melichara
Miroslav Hotový	...	Regent Jeroným z Hory
Vladimír Hrabánek	...	Vandrák v autobuse
Jirí Hrzán	...	Vyskoc
Frantisek Husák	...	Básník
Ladislav Jakim	...	student Krystof
Jirina Jirásková	...	Tadeásová
Josef Korán	...	Dokazovatel
Marta Krásová	...	Dáma
Zdenek Kryzánek	...	Ministr orby
Pavel Landovský	...	Fízl
Karel Mares	...	Asistent Reum
Viktor Maurer	...	Emen
Eduard Pavlícek	...	Ministr války
Regina Rázlová	...	Dominika (voice)
Milena Sebestová	...	Studentka
Daniela Srajerová	...	Elévka
Leos Sucharípa	...	Tadeás
Karel Svoboda	...	Administrátor
Karel Vasicek	...	Muz s kockou

Conhecida como:

A Case for a Young Hangman
Case for a Rookie Hangman (International: English title)

Duração:

102 min

País:

Czechoslovakia

Língua:

Czech

Color:

Black and White

Som:

Mono

Company:

Filmové Studio Barrandov

DOWN THE RABBIT HOLE AND OUT AGAIN

Eastern European reaction to totalitarian Communist oppression found expression in surrealism, in retreat into the subjective and fantastical. The enemy might be dealt a deeper blow by indirect mockery and artistic inference than by explicit attack. Whereas realism is limited to the specific, allegory encompasses everything, the entire calamity of the human circus. There is no crueler criticism than laughter.

Jurácek structures what has been called his "masterpiece" around the 3rd book of Jonathan Swift's "Gulliver's Travels." His ultimate source, however, is Kafka, who, not coincidentally, he imitated in his first feature, "Josef Killián -- A Character Needing Support." The protagonist, Lemuel Gulliver (Lubomir Kostelka), picaresquely stumbles his way up the ever higher social echelons of the absurdist lands of Balnibari and Laputa, only to find no one at the top, no one in control, a theme familiar, of course, to Kafka. Man's hunger for justice, for moral harmony and logic, for resolution of subconscious conflicts, for at least someone or -thing responsible, are forever frustrated.

The haphazardness and disassociation inherent to dream language tends to inevitable incoherence. It is difficult, if not near impossible, to transpose the entirely idiosyncratic symbols of one subconscious, an author's, into the universal language of art. Very few have been successful (again, Kafka) and then only by resorting to classic mythology, literature, and religion as frames of reference for the personal and subjective. Jurácek, however, for all his visual and dramatic creativity and unbounded imagination, loses hold of his unruly and chaotic subject, piling one absurdity on another, ultimately rambling rather than building or leading anywhere.

Some images work better than others, especially, at the beginning of the film, e.g., a bouncing wooden floor through the cracks of which appear unapproving strangers and the bleached body of Lemuel's drowned childhood sweetheart. The continual chase and harassment of Lemuel by hostile Balnibarians, however, at times seems without purpose, merely there for dramatic effect and to impel events.

Still, the joy ride, the experimental adventurousness of it all, is fun, a welcome release from the oppressive here and now into all things possible and impossible.