bio konvikt/ záfií–fiíjen 2003/ September–October 2003 bio konvikt/ záfií–fiíjen 2003 /PONREPO /Promítací síÀ Národního filmového archivu /The Screening Room of the National Film Archive

âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ /v rámci T˘dne zahraniãních âechÛ

29/09–3/10 2003 – Praha/

CZECH FILMS MADE ABROAD /A Week of Czech Culture Abroad CZECH FILMS MADE ABROAD/ 1 Po 29.9. 19.00 Jana Boková/ DENÍK POVÍDKY/ – ·panûlsko – Francie 1998/ Mon 29.9. 7.00 pm Jana Boková/ DIARY FOR A STORY/ Argentina – Spain – 1998/ ‰panûl.verze/ ang.tit. s pfiekl./ 90 min. in Spanish/ Engl. subtitles with Czech live transl./ 90 min. – slavnostní zahájení za osobní úãasti reÏisérky – opening night gala with the participation of the director Út 30.9. 18.00 Jana Boková/ HAVANA/ Velká Británie 1990/ orig.verze s pfiekl./ 90 min. Tue 30.9. 6.00 pm Jana Boková/ HAVANA/ Great Britain 1990/ in original version 20.00 Vojtûch Jasn˘/ NÁVRAT/ Rakousko 1977/ nûm. verze/ with Czech live transl./ 90 min. fran.tit. s pfiekl./ 110 min. 8.00 pm Vojtûch Jasn˘/ THE RETURN/ Austria 1977/ In German/ St 1.10. 18.00 ·tûpán Benda/ UKRADEN¯ DOPIS/ SRN 1988/ nûm. verze s pfiekl./ French subtitles with live Czech transl./ 110 min. Wed 1.10. 6.00 pm ·tûpán Benda/ THE PURLOINED LETTER/ GDR 1988/ 65 min. In German with live Czech transl./ 65 min. 20.00 Bernard ·afafiík/ PSÍ DOSTIHY/ ·v˘carsko 1983/ nûm. verze/ 8.00 pm Bernard ·afafiík/ DOG RACES/ Switzerland 1983/ in German/ ães.tit./ 89 min Czech subtitles/ 89 min. ât 2.10. 18.00 Alexander Hackenschmied aj./ SÍLA V LIDECH/ USA 1958/ Thu 2.10. 6.00 pm Alexander Hackenschmied et al./ POWER AMONG MEN/ USA 1958/ ang. verze s pfiekl./ 84 min. In English with live Czech transl./ 84 min. 20.00 Bernard ·afafiík/ CHLADN¯ RÁJ/ ·v˘carsko 1986/ nûm. verze/ 8.00 pm Bernard ·afafiík/ THE COLD PARADISE/ Switzerland 1986/ in German/ ang./fran.tit. s pfiekl./ 90 min. Engl. and Fren. subtitles with live Czech transl./ 90 min. Pá 3.10. 18.00 Karel Lamaã/ ·VEJK BOURÁ NùMECKO/ Velká Británie 1943/ Fri 3.10. 6.00 pm Karel Lamaã/ SCHWEIK’S NEW ADVENTURES/ Great Britain 1943/ ang. verze/ ães.tit./ 70 min. In English/ Czech subtitles/ 70 min. 20.00 Gustav Machat˘/ ÎÁRLIVOST/ USA 1945/ ang. verze s pfiekl./ 65 min. 8.00 pm Gustav Machat˘/ JEALOUSY/ USA 1945/ in English with Czech live transl./ 65 min.

/UpozorÀujeme, Ïe originální verze filmÛ jsou tlumoãeny simultánnû, /Please note that the films are shown in their original versions, pfiímo do kinosálu. with simultaneous live translation into Czech (not individual headphones). /Vstup na projekce je pro úãastníky T˘dne zahraniãních âechÛ /If you are participating in the Week of Czech Culture Abroad voln˘ oproti registraãní jmenovce. please present your registration name-tag for free entrance to the screenings.

CZECH FILMS MADE ABROAD/ 2 Promítací síÀ NFA PONREPO v Bio Konvikt The Screening Room of the NFA PONREPO Bartolomûjská 11, Praha 1 in Bio Konvikt, Bartolomûjská 11, Prague 1

This programme is presented by Milan Klepikov Program pfiipravil Milan Klepikov P in collaboration with TomበHála (hal), ve spolupráci s Tomá‰em Hálou (hal), Briana âechová (ir), Vûroslav Hába (vh), Brianou âechovou (ir), Vûroslavem Jifií Horníãek (jho) and the digitalisation centre Hábou (vh), Jifiím Horníãkem (jho) of the National Film Archive. a digitalizaãním stfiediskem NFA. Graphic design/ David Fírek Grafick˘ design/ David Fírek Published by the National Film Archive, Vydal Národní filmov˘ archiv, Male‰ická 12/14, Prague 3 Male‰ická 12/14, Praha 3 In co-operation with the Department for ve spolupráci s odborem kulturních Cultural Relations and Czechs Living Abroad a krajansk˘ch vztahÛ Ministerstva at the Ministry of Foreign Affairs zahraniãních vûcí âR of the Czech Republic záfií 2003 September 2003

CZECH FILMS MADE ABROAD/ 3 âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD

/„Slovo exil pochází z latinského exilium, které OttÛv slovník nauãn˘ /‘The word exile originates from the Latin word exilium, and was vykládá následovnû: ‘Pov‰echnû Ïití mimo vlast, dobrovolné neb defined in OttÛv slovník nauãn˘, one of the major encyclopaedias nucené vyhnanství. V starém ¤ímû bylo exilium vyhnanstvím published in the Czech language, in the following terms: „Enforced or dobrovoln˘m. Ov‰em je volíval obãan hlavnû k tomu konci, aby u‰el voluntary absence from one’s country or home. In ancient Rome, osobním následkÛm hrozícího nebo jiÏ vysloveného odsouzení exilium was a voluntary separation, but the citizens of Rome resorted trestního. Tu pak pozbyl obãanství fiímského teprve tím, Ïe se stal to it mainly to escape the consequences of an either imminent or pfiíslu‰níkem jiné od státu fiímského uznané obce. Nad ním byla pak actual criminal charge against them. Their Roman citizenship would od komitií vynesena aquae et ignis interdictio, ãímÏ se mu stal návrat later only be revoked if they became members of another municipality do vlasti nemoÏn˘m. Podle trestních fiádÛ, jak se od konce republiky recognised by the Roman State. Such revocation was effected through byly vyvinuly, jest exilium pfiímo soudním nálezem uloÏen˘ trest an aquae et ignis interdictio passed by the comitii, which made the vyhnanství, kter˘ zavírá v sobû dílem vypovûdûní z urãit˘ch krajÛ fií‰e, return of these individuals to their homeland impossible. According to dílem ztrátu fiímského obãanství. V dobû císafiské vstoupil na místo the code of criminal procedure developed after the republican period, tohoto odsouzení trest deportace.’ Slovo emigrace, taktéÏ latinského exilium referred directly to the expulsion by court decree, and would pÛvodu, je charakterizováno tamtéÏ jako ‘vystûhovávání se jednotlivcÛ, either involve an interdiction from certain parts of the Empire, or the cel˘ch tfiíd spoleãensk˘ch, národÛ do ciziny, z pfiíãin náboÏensk˘ch, loss of the Roman citizenship. During the later imperial period, this politick˘ch nebo místních.’ Politické konotace získal tento termín, kdyÏ punishment was replaced by the sentence of deportatio (deportation).“ slovem emigranti zaãali b˘t oznaãování francouz‰tí aristokraté The same encyclopaedia offers a definition of the word emigration, v nûmeckém exilu po roce 1789... itself also of Latin origin, as: „the expatriation of individuals, entire /âeskoslovenské dûjiny 20. století poznamenaly tfii tragické pfieryvy, classes or even entire nations, for religious, political, or reasons s nimiÏ se pojí tfii velké emigraãní vlny. Ty pochopitelnû zasáhly relating to local circumstances“. The term began to acquire political

04/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 04 i oblast na‰í kinematografie, která tak pfii‰la o mnohé ze sv˘ch connotations after it was used to designate the French aristocrats in v˘znamn˘ch a nejv˘znamnûj‰ích pfiedstavitelÛ. ¤ada reÏisérÛ, German exile following the 1789 Revolution [.] scenáristÛ, hercÛ, kameramanÛ ad. byla politick˘mi okolnostmi /The history of the twentieth-century was marked by donucena odejít z vlasti a pracovat v exilu.“ three tragic ruptures followed by three major waves of emigration. Jifií Voráã: âesk˘ film v exilu. Disertaãní práce. MU FF, Having lost many of its prominent, or even its most prominent, Ústav divadelní a filmové vûdy. Brno 1998. representatives, Czech and Slovak cinematography was also deeply affected. A great number of directors, screenwriters, actors, cameramen etc., were forced by political circumstances to leave the /S v˘jimkou Vojtûcha Jasného jsme se v na‰em v˘bûru nezamûfiili na u nás country and work in exile.’ známá jména, mezi nûÏ patfií Milo‰ Forman, Ivan Passer ãi Jan Kadár, n˘brÏ (Jifií Voráã: âesk˘ film v exilu (Czech Émigré Film). Final Thesis at the Arts Faculty pfiedev‰ím na tvÛrce, ktefií zahájili svou filmovou dráhu aÏ v zahraniãí of Masaryk University in Brno, The Institute for Theatre and Film. Brno 1998.) (Jana Boková, Bernard ·afafiík, ·tûpán Benda).

/Except for Vojtûch Jasn˘, our selection did not focus on the directors whose work is well recognised in this country, such as Milo‰ Forman, Ivan Passer or Jan Kadár, but mainly on those Czech film-makers who only started their careers abroad (Jana Boková, Bernard ·afafiík and ·tûpán Benda).

05/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 05 Jana Boková Jana Boková DENÍK POVÍDKY DIARY FOR A STORY Diario para un cuento, Argentina – ·panûlsko – Francie 1998 Diario para un cuento, Argentina – Spain – France 1998 hrají/ Germán Palacios, Silke Hornillos Klein, Enrique Pinti, Inés Estévez featuring/ Germán Palacios, Silke Hornillos Klein, Enrique Pinti, Inés Estévez ‰panûl.verze/ ang.tit. s pfiekl./ 90 min. in Spanish/ Engl. subtitles with Czech live transl./ 90 min. „SvÛj první ‰kolní film V této minutû vûnovala milované PafiíÏi, jejíÏ ‘Boková dedicated her first school film In That Minute to her beloved , inspirativní atmosféra v mnohém urãila zpÛsob jejího vnímání, styl a formu whose inspiring atmosphere has in many ways defined her own zachycování jakéhokoliv prostfiedí i lidí. JANù BOKOVÉ (nar. 1948) se perceptions, and the style and form with which she has continued to podafiilo rozvinout tradici cinema-verité do nov˘ch poloh a rozmûrÛ. Za portray different environments and people. JANA BOKOVÁ (born in 1948) nejdÛleÏitûj‰í moment pfii tvorbû sv˘ch esejÛ povaÏuje Boková navázat co has developed the tradition of cinema verité to include new situations and nejtûsnûj‰í kontakty se v‰ím a s kaÏd˘m, kdo bude pfied kamerou. ‘VÏdycky new dimensions. For Boková, the most important thing in the making of mû fascinovalo to, co se odehrávalo ze zavfien˘mi dvefimi,’ fiíká Boková, her film essays is to create the closest possible contact with everything jejímÏ cílem je pfiedev‰ím mapování slabostí v‰edního Ïivota. Proto tak and everyone to be in front of the camera. „I have always been fascinated ãasto obrací svoji pozornost na anonymní obûti kaÏdodennosti. Bokovou by what goes on behind closed doors“, says Boková, whose aim is mainly pfiitahují nejen jednotlivci, ráda se seznamuje s cel˘mi komunitami to chronicle the weaknesses of ordinary life. This is why she often focuses a národními spoleãenstvy. Svoji cestovatelskou vá‰eÀ prodchnutou on the anonymous victims of the everyday. Boková is not only attracted to zvûdavostí a hledáním zúroãila také na filmov˘ch pásech. Originální individual people; she enjoys getting to know entire communities or postfiehy, jaké naãerpala v rÛzn˘ch konãinách pfiedvedla v fiadû dokumentÛ. nations. She has made good use on celluloid of her passion for travel, TfiebaÏe ji touha po poznání tajemství lidstva dohnala do nejodlehlej‰ích motivated by curiosity and discovery. Her original insights, gained in koutÛ, pfiesto nezapfiela svoji vûrnost PafiíÏi, z níÏ se vyznala ve svém different parts of the world, have been recorded and presented in a series hraném celoveãerním debutu Hotel Ráj (1986).“ of documentaries. And while her longing to reveal the mystery of humanity (Milo‰ Fikejz: PafiíÏ a svût oãima Jany Bokové. Kinorevue ã.5/ 1991.) has led her to the remotest regions of our planet, she has remained true to

06/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 06 JestliÏe se v Hotelu Ráj reÏisérka ponofiila do tajemn˘ch zákoutí PafiíÏe, Paris, a devotion she had professed already in her debut feature film The v Deníku objevuje spolu s autorem pfiedlohy Julio Cortázarem záhadnou Paradise Hotel (1986).’ (Milo‰ Fikejz: Paris and the World as Seen by Jana rovinu skuteãnosi pod kaÏdodenním v‰edním Ïivotem, odvrácenou tváfi Boková. Kinorevue no.5/ 1991) While in The Paradise Hotel the director , pfiístavu plného prostitutek, námofiníkÛ a gangsterÛ. (red) immersed herself in the secret corners of Paris, in her Diary, together with Pondûlí 29.9./ 19.00 Julio Cortázar – on whose story of the same title she based the film – she discovers the mysterious side of reality beneath the everyday surface, the dark side of Buenos Aires, the port packed with prostitutes, sailors and gangsters. (red) Monday 29 September/ 7.00 pm

07/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 07 Jana Boková Jana Boková HAVANA HAVANA Havana, Velká Británie 1990 Great Britain 1990 dokument/ orig. verze s pfiekl./ 90 min. documentary/in Spanish/ original version with live Czech transl./ 90 min. „TvÛrãí spektrum ãs. filmového exilu se bûhem dvaceti let roz‰ifiovalo. „The creative spectrum of the Czechoslovak émigré film has broadened Dnes ho jiÏ nereprezentuje hrstka umûlcÛ, jejichÏ jména byla vyslovována considerably in the course of the last twenty years. It is no longer po svûtû s úctou a uznáním v 60. letech je‰tû za jejich pÛsobení v na‰í represented only by a handful of artists whose names were already known kinematografii. V zahraniãí se postupnû prosadili i ti filmafii, ktefií se and respected internationally in the 1960s while they were still active in chopili kamery teprve po odchodu z vlasti. KaÏd˘ v‰ak nabíral zku‰enosti cinematography at home. Gradually, film-makers who only started their v jin˘ch podmínkách a s jin˘mi úspûchy, skuteãnû svûtové renomé si z této careers after leaving the country have won recognition as well. They have kategorie emigrantÛ vydobyla zatím jen praÏská rodaãka Jana Boková, done so, however, in different circumstances and with various levels of autorka mnoha osobit˘ch dokumentárních snímkÛ a jednoho celoveãerního success, and so far only the Prague-born Jana Boková, who has directed hraného filmu... Její pÛvodnû plánovaná doãasná náv‰tûva PafiíÏe se many exceptional documentary films and one feature film, has won a truly v roce 1968 v dÛsledku srpnové okupace âeskoslovenska prodlouÏila na international reputation [...] What was originally meant as a temporary trval˘ pobyt. Studium dûjin umûní se zamûfiením na surrealismus sice visit to Paris turned into permanent residence for Boková after the Soviet- zahájila na Univerzitû Karlovû v Praze, doktorát obdrÏela ov‰em aÏ na led intervention in Czechoslovakia in August 1968. Finally, although she pafiíÏské Sorbonnû.“ started her studies of art history with a special focus on Surrealism at (Milo‰ Fikejz: PafiíÏ a svût oãima Jany Bokové. Kinorevue ã.5/ 1991.) Charles University in Prague, she received her doctorate in Paris, from the „Film, kter˘ zajisté vznikal s urãit˘mi pfiedstavami a zámûry autorky, ale Sorbonne.’ kter˘ je pfiesto natolik vrstevnat˘, Ïe ho lze oznaãit za v˘znamovû polyfonní (Milo‰ Fikejz: Paris and the World as Seen by Jana Boková. Kinorevue no.5/ 1991) dílo. Jádrem v˘povûdi je bezesporu obraz Havany, která je v˘mluvn˘m ‘This film, although definitely made with some very specific ideas and dokladem situace v celé zemi. Film zaãíná úryvky z dobového dokumentu, intentions, is nonetheless so intricate that we can characterise it as a work

08/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 08 zachycujícího vítûzné finále kubánské revoluce, a pak uÏ Boková of polyphonic meanings. The core of the director’s testimony is s kameramanem chodí ulicemi dne‰ní Havany. Nikde ani slÛvko undoubtedly the portrait of Havana, which is telling evidence for the vysvûtlujícího ãi zobecÀujícího komentáfie (nenajdete ho v Ïádném z jejích situation in the entire country. The film begins with the fragments dokumentÛ), Ïádná hudba kromû té, kterou vyhrávají sami HavaÀané. of a period documentary featuring the triumphant finale of the Cuban Vedle hlasu kontaktovan˘ch osob a reáln˘ch ruchÛ prostfiedí tu obãas pod Revolution, and then moves on to Boková walking the streets of Havana obrazem zazní ver‰e z kubánské poezie, jeÏ rozmanit˘m zpÛsobem with the cameraman. There is not a single word of commentary to explain dotváfiejí v˘znam vidûného.“ or draw conclusions from what is seen (one would also look in vain for (Zdena ·kapová: Jméno z exilu: Jana Boková. Film a doba ã.12/ 1990.) such commentaries in any of her other documentaries), and no music Úter˘ 30.9./ 18.00 except for what is played by the people of Havana themselves. Besides the voices of the people she makes contact with and the real noise of the city, Vojtûch Jasn˘ she sometimes uses over-recordings of Cuban poetry, which in manifold NÁVRAT ways deepen and give the final touch to the meaning of the image.’ Rückkehr, Rakousko 1977 (Zdena ·kapová: An Émigré Name: Jana Boková. Film a doba no.12/ 1990) hrají/ Attila Hörbiger, Hanna Schygullaová, Boris Hanreich, Wolfgang Gasser Tuesday 30 September/ 6.00 pm nûm.verze/ franc.tit. s pfiekl./ 110 min. Po natoãení Ïivotního opusu V‰ichni dobfií rodáci (1968) byla filmová tvorba Vojtûch Jasn˘ v domácích podmínkách pro VOJTùCHA JASNÉHO (nar. 1925) nemoÏná, THE RETURN proto se rozhodl pracovat jinde. Po Rakousku, Nûmecku, Jugoslávii Rückkehr, Austria 1977 následovala Kanada a dnes Ïije a pracuje v USA, kde má také své Ïáky. featuring/ Attila Hörbiger, Hanna Schygulla, Boris Hanreich, Wolfgang Gasser My si z jeho svûtového filmového putování pfiipomeneme v Ponrepu film, In German/ French subtitles with live Czech transl./ 110 min. kter˘ Jasn˘ natoãil v Rakousku a jehoÏ dûj tvofií dvû filmové jednoaktovky After he shot his magnum opus All My Good Countrymen (1968), it was no „Návrat starého pána“ a „MÛj str˘c neboÏtík“. Oba pfiíbûhy se odehrávají longer possible for VOJTùCH JASN¯ (born in 1925) to continue making

09/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 09 na malomûstû, které nápadnû pfiipomíná ãeské prostfiedí. DÛleÏitou roli zde films in this country, and he decided to take his work elsewhere. After hraje hudba Jana Nováka a malebná kamera Igora Luthera. Hlavní postavu Austria, Germany and Yugoslavia, he moved on to Canada, and then to the v prvním pfiíbûhu ztvárnil pfiedstavitel proslulé rakouské herecké rodiny, USA, where he now lives and works, and where he also has pupils. From Attila Hörbiger, ve vedlej‰í roli se objevuje Fassbinderova hereãka Hanna his cinematic journey across the globe, this week in Ponrepo we shall be Schygullaová. (ir) showing a film that Jasn˘ shot in Austria, with a plot made up of two Úter˘ 30.9./ 20.00 cinematic one-acts “The Return of the Old Gentleman„ and “My Late Uncle„. Both stories take place in a provincial town, conspicuously similar ·tepán Benda to the small towns of Bohemia. The music of Jan Novák and the vivid UKRADEN¯ DOPIS camera work of Igor Luther play an important part in the film. Attila Der entwendete Brief, SRN 1988 Hörbiger, member of the famous Austrian actors’ family, stars as the main hrají/ Gerard Krieger, Ostap Bender ml., Paulus Manker, Frank Behnke protagonist of the first story, while the film also features nûm.verze s pfiekl./ 65 min. Fassbinder’s favourite actress Hanna Schygulla in a supporting role. (ir) ReÏisér ·TùPÁN BENDA studoval filosofii a literární vûdu. Po odchodu Tuesday 30 September/ 8.00 pm z âeskoslovenska se pfiihlásil na západoberlínskou Deutsche Film und Fersnsehakademie, kde natoãil svÛj celoveãerní debut, inspirovan˘ ·tepán Benda povídkou Edgara Allana Poea Ukraden˘ dopis (1842). Pfiíbûh se THE PURLOINED LETTER spisovatelov˘m oblíben˘m hrdinou, detektivem – amatérem C. Auguste Der Entwendete Brief, GDR 1988 Dupinem, jenÏ vyfie‰í zdánlivû nevysvûtlitelné záhady, pojal ve stylu featuring/ Gerard Krieger, Ostap Bender ml., Paulus Manker, Frank Behnke nûm˘ch filmÛ, kter˘mi se nechal inspirovat i v pfiedchozí tvorbû, kdy In German with live Czech transl./ 65 min. pracoval s kamerou z roku 1905. Hlavním inspiraãní zdroj v‰ak nalezl ve The director ·TùPÁN BENDA studied philosophy and literary theory. After formálních prostfiedcích expresionistické kinematografie, na jejichÏ základû leaving Czechoslovakia he enrolled at the West Berlin Deutsche Film und vytvofiil esej o obrazotvornosti umûlce, pfiípadnû o stfietávání fikce Fersnsehakademie, where he shot his debut feature film, inspired by Edgar

10/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 10 a reality, v nûmÏ zvlá‰tní dÛraz kladl na styãné body mezi slovním Allan Poe’s story ‘The Purloined Letter’ (1842). The story features the a filmov˘m zpÛsobem vyjádfiení. Ten se projevil i na podobû mezititulkÛ, author’s favourite hero – the Chevalier Auguste Dupin, an amateur ve kter˘ch propojoval pÛvodní PoeÛv text s Talbotov˘mi a Daguerrov˘mi detective who solves apparently impossible mysteries, and Benda treats fotografiemi. Benda pozdûji pracoval jako kameraman, zab˘val se filmovou his subject in the style of the silent films that had already inspired his kritikou a psal do fiímského exilového ãasopisu Listy. (red) earlier work, filmed with a camera made in 1905. Nonetheless, the formal Stfieda 1.10./ 18.00 techniques of expressionist cinematography remain the main source of his inspiration. They are used as a basis on which the director creates an essay on the imagination of the artist and the space between fiction and reality, paying special attention to the points of contact between the spoken word and cinematic language. He thus introduced inter-titles, which combine Poe’s original text with photographs by Talbot and Daguerre. Benda later worked as a cameraman. He has also been active as a film critic and wrote for the émigré journal Listy based in Rome. (red) Wednesday 1 October/ 6.00 pm

11/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 11 Bernard ·afafiík Bernard ·afafiík PSÍ DOSTIHY DOG RACES Huderennen, ·v˘carsko 1983 Huderennen, Switzerland 1983 hrají/ Josef Charvát, Pavel Landovsk˘, Sabine Rasserová, Nina ·vábová, featuring/ Josef Charvát, Pavel Landovsk˘, Sabine Rasser, Nina ·vábová, Vlastimil Tfie‰Àák Vlastimil Tfie‰Àák nûm.verze/ ães.tit./ 89 min. In German/ Czech subtitles/ 89 min. BERNARD ·AFA¤ÍK (nar. 1948) se v exilu zafiadil mezi ty tvÛrce, ktefií svou After emigrating, BERNARD ·AFA¤ÍK (born in 1948) became one of those zku‰enost s opu‰tûním domova transformovali do vyprávûní naplnûného Czech émigré film-makers who transformed their experience of separation pocitem vykofienûní a hledání nové identity. K filmu se dostal aÏ ve from their country into a narrative filled with the sense of displacement ·v˘carsku, kam ode‰el roku 1967. V Basileji nejdfiíve studoval literaturu and the search for a new identity. He only began making films after a filosofii, poté pracoval v rozhlase a televizi, kde pfiipravoval dokumenty settling in Switzerland in 1967. In Basel, he studied literature and o umûní. Na svém prvním celoveãerním filmu Psí dostihy spolupracoval se philosophy at first, and was later employed by radio and television, spisovatelem Jaroslavem Vejvodou, jenÏ scénáfi pozdûji pojednal jako making documentary art programmes. For his first feature film Dog Races filmovou povídku Honiãka (s podtitulem Filmová satira ze Ïivota uprchlíkÛ), he collaborated with the writer Jaroslav Vejvoda, whose script he later která roku 1985 vy‰la u manÏelÛ ·kvoreck˘ch v Sixty-Eight Publishers treated as a film story entitled ‘Honiãka’ (Chase) and subtitled ‘Filmová v Torontu. Hrdinou tragikomického vyprávûní je malífi Rek (Josef Charvát), satira ze Ïivota uprchlíkÛ’ (Film Satire from the Life of the Refugees), jenÏ se protlouká v Basileji jako pfiíleÏitostn˘ malífi plakátÛ a portrétista which the ·kvoreck˘ couple published in 1985 at their Sixty-Eight psích miláãkÛ „lep‰í“ spoleãnosti. Naproti tomu jeho kamarád Láìa Lapák Publishers house in Toronto. The main protagonist of this tragicomic tale, (Pavel Landovsk˘) se v novém prostfiedí pohybuje mnohem úspû‰nûji a painter named Rek (played by Josef Charvát), struggles to make a living (oÏení se a zaloÏí si firmu), ãasto v‰ak ztrácí sebeúctu a vûdomí hodnot. in Basel, occasionally painting posters and portraits of ‘high’ society pet Konfrontace dvou Ïivotních stylÛ zde není vedena jen v linii âe‰i dogs. By contrast, his friend Láìa Lapák (played by Pavel Landovsk˘) has a ·v˘carsko a âe‰i Ïijící ve ·v˘carsku, ale téÏ ãe‰tí emigranti a âe‰i, Ïijící apparently been much more successful in the new environment (he has

12/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 12 ve vlasti: hlavní hrdiny nav‰tíví manÏelsk˘ pár, jenÏ pfied deseti lety odmítl married and founded his own company), but he suffers from a growing lack – na rozdíl od nich – opustit hranice. ·afafiíkova poetika má blízko of self-respect and his value systems are shaken. The film does not limit k veristické tradici ãeského filmu 60. let. Psí dostihy vznikaly v amatérsk˘ch this confrontation of two different lifestyles to the opposition between the podmínkách a se znaãn˘mi finanãními obtíÏemi. Právû to v‰ak posílilo Czechs and Switzerland or between the Czechs living in Switzerland. It also jejich autentiãnost, stejnû jako kombinace hercÛ s neherci. Upfiímná includes the clash between the Czech émigrés and the Czechs who stayed v˘povûì o Ïivotû v exilu získala mnohá mezinárodní ocenûní. (hal) in the country: the two main characters are visited by a couple that – Stfieda 1.10./ 20.00 unlike them – refused to go into exile. ·afafiík’s poetics have an affinity with the tradition of cinema verité in the Czech film of the 1960s. Dog Races was made in amateur conditions and with great financial difficulties, but this finally adds to the film’s authenticity, just like its combination of actors and non-actors. This sincere testimony about life in exile has won many international awards. (hal) Wednesday 1 October/ 8.00 pm

13/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 13 Alexander Hackenschmied Alexander Hackenschmied – Thorold Dickinson – J. C. Sheers – Gian-Luigi Polidoro – Thorold Dickinson – J. C. Sheers – Gian-Luigi Polidoro SÍLA V LIDECH POWER AMONG MEN Power Among Men, USA 1958 USA 1958 ang.verze s pfiekl./ 84 min. documentary/ In English with live Czech transl./ 84 min. Udûlením amerického obãanství v roce 1947 se ãesk˘ filmafi ALEXANDER After obtaining citizenship in the United States in 1947, the Czech HACKENSCHMIED (nar. 1907) stal i pro tamní úfiady Alexandrem filmmaker ALEXANDER HACKENSCHMIED (born in 1907) officially changed Hammidem, pod kter˘mÏto jménem v USA uÏ nûkolik let pfiedtím umûlecky his name to Alexander Hammid – the artistic pseudonym he had been pracoval. Experimentální díla ze 40. let (vytvofiená spoleãnû s Mayou using in the USA already for several years. His experimental films of the Derenovou) a dokumenty natoãené nejprve pro Úfiad váleãn˘ch informací 1940s (created together with Maya Deren), and the documentaries he a pozdûji pro OSN tvofií základ Hammidovy zámofiské filmografie zavr‰ené made first for the US Office of War Information and later for the UN, form v 70. letech trojdimenzionálními projekty systému IMAX realizovan˘mi ve the base of Hammid’s film opus overseas, completed in the 1970s with his spolupráci s Francisem Thompsonem. three-screen projects in large format (IMAX), which he made with Francis Síla v lidech je první dlouhometráÏní dokument filmového oddûlení OSN Thompson. Power Among Men is the first full-length documentary produced (pfiíleÏitostnû zde pÛsobili mj. Lionel Rogosin, Shirley Clarkeová), kde se by the UN-Film Division (whose directors included also Lionel Rogosin and vyrábûly filmy popularizující ãinnost této instituce v rÛzn˘ch zemích svûta. Shirley Clark), which made films publicising the successes of this Ze ãtyfi ãástí natoãen˘ch v Itálii (obnova válkou zniãené vesnice), na Haiti international organisation in different countries across the globe. Of the (rekultivace pÛdy pro zemûdûlské úãely), v Kanadû (v˘stavba vodní four parts, shot in Italy (reconstruction of a village destroyed in the Second elektrárny) a v Norsku (problémy s v˘zkumem vyuÏití jaderné energie) World War), Haiti (re-cultivation of land for agricultural purposes), Canada Hammid reÏíroval poslední dva pfiíspûvky. Z odstupu 45 let zv˘raznûném (construction of a power plant) and Norway (problems with research into aktuální úrovní ekologické vzdûlanosti a kritick˘m hodnocením aktivit the use of nuclear energy), Hammid directed the last two. Forty-five years mezinárodních organizací pÛsobí dnes nûkteré názory zastarale a naivnû, later, set against the high level of contemporary environmental education

14/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 14 zvlá‰tû kdyÏ jsou prezentovány s pfiíli‰n˘m patosem. V˘tvarná vytfiíbenost and our critical attitude to the activities of global organisations, some of Hammidem peãlivû volen˘ch obrazov˘ch kompozic v‰ak zÛstává trvalou the ideas the film promotes seem old-fashioned and naive, especially hodnotou tohoto osvûtového dokumentu. Pro americké diváky filmov˘ since they are presented with unnecessary pathos. Nonetheless, the visual komentáfi namluvil Marlon Brando, zatímco kopie promítané mimo USA refinement of Hammid’s carefully chosen compositions gives this doprovází hlas Laurence Harveye. (jho) educational documentary lasting value. The commentary for the film was âtvrtek 2.10./ 18.00 recorded by Marlon Brando, while the copy for the viewers outside the USA featured the voice of Laurence Harvey. (jho) Bernard ·afafiík Thursday 2 October/ 6.00 pm CHLADN¯ RÁJ Das Kalte Paradies, ·v˘carsko 1986 Bernard ·afafiík hrají/ Julius Effenberger, Nohemi Dragonnéová, Berta Aligová, Istvan Akos THE COLD PARADISE nûm.verze/ ang.-franc.tit. s pfiekl./ 90 min. Das Kalte Paradies, Switzerland 1986 ·afafiíkÛv druh˘ celoveãerní film vznikl opût za scenáristické spolupráce featuring/ Julius Effenberger, Nohemi Dragonn, Berta Alig, Istvan Akos Jaroslava Vejvody. Impulsem k jeho natoãení byl skuteãn˘ pfiíbûh mladého in German/ Engl. and Fren. subtitles with live Czech transl./ 90 min. âecha a jeho druÏky, jejichÏ peripetie s legalizací pobytu naráÏely na ·afafiík’s second feature film was also made in collaboration with Jaroslav byrokratickou neochotu a zvÛli ‰v˘carsk˘ch úfiadÛ. Hrdinové dostali ve Vejvoda as the scriptwriter. It was inspired by the true story of a young filmu exotiãtûj‰í pÛvod – Jan je z v˘chodní Evropy, Elba z Latinské Czech man and his girlfriend, whose efforts to legalise their status in Ameriky, místem jejich seznámení je uprchlick˘ tábor. Také Ïánr se oproti Switzerland continually came up against the bureaucracy and arbitrary prvnímu titulu „promûnil“ do tragédie, v níÏ syrovûj‰í tón vyprávûní decisions of the Swiss authorities. In the film, the two main characters are navozuje dojem rekonstrukce skuteãné události s autentick˘mi postavami. given more exotic origins – Jan is East European and Elba is from South Chladn˘ ráj vyvolal ve ·v˘carsku Ïivou diskusi, která probíhala na stránkách America, and they meet in a refugee camp. In terms of genre, this second tisku i v parlamentu (zkoumalo se, zda ·afafiík neporu‰il zákon, zejména film differs from the first in being a tragedy, with a raw tone of narration

15/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 15 ve vûci nabádání ke skr˘vání uprchlíkÛ). Filmová kritika v‰ak byla that leaves the impression that it is a reconstruction of real events, vstfiícnûj‰í, a kdyÏ byl film roku 1987 uveden na festivalu v San Remu, involving authentic people. The Cold Paradise provoked fierce discussion obdrÏel âestné uznání. (hal) in Switzerland, both in the press and in Parliament (there was speculation âtvrtek 2.10./ 20.00 that ·afafiík might have broken the law by encouraging the concealment of illegal immigrants). Fortunately the film critics were more supportive; Karel Lamaã in 1987, when the film was shown at the festival in San Remo, it won an ·VEJK BOURÁ NùMECKO Honorary Mention. (hal) Schweik’s New Adventures, Velká Británie 1943 Thursday 2 October/ 8.00 pm hrají/ Lloyd Pearson, Maggie McGrathová, Julien Mitchell, Richard Attenborough ang.verze/ ães.tit./ 70 min. Karel Lamaã âesk˘ reÏisér KAREL LAMAâ (1897–1952), dlouhou dobu pracující SCHWEIK’S NEW ADVENTURES v Nûmecku, byl donucen odejít pfied hitlerovsk˘m fa‰ismem nejprve do Great Britain 1943 Francie a posléze do Velké Británie, kde se dále vûnoval filmové reÏii. featuring/ Lloyd Pearson, Maggie McGrath, Julien Mitchell, Richard Attenborough Jeho film ·vejk bourá Nûmecko z roku 1943 vznikl pod vlivem váleãn˘ch In English/ Czech subtitles/ 70 min. okolností a byl urãen hlavnû britskému publiku. Snad také proto se vyznûní The Czech film director KAREL LAMAâ (1897–1952) worked in Germany svébytného ãeského hrdiny dobrého vojáka ·vejka z Ha‰kovy humoristické for a long time before he was finally forced to leave after Hitler’s rise to literární pfiedlohy vymyká jeho tradiãnímu zpÛsobu zobrazení. Lamaã, také power and the escalation of Nazism. He left for France and later for spoluautor scénáfie, s postavou ·vejka nakládá volnû. Pfiená‰í ho do Britain, remaining active as a film director. His 1943 film Schweik’s New souãasnosti tehdej‰í váleãné reality a souhrou náhod z nûj uãiní Adventures, strongly influenced by war circumstances, was aimed mainly at vojenského sluhu velitele gestapa, ãímÏ se ·vejk dostává k pfiíleÏitosti British audiences. This may be the reason why his treatment of the famous zachránit mnoho lidí pfied deportací do koncentraãních táborÛ. Lamaã tedy satirical figure created by writer Jaroslav Ha‰ek was rather unconventional není veden pohnutkou autorské interpretace jako spí‰e potfiebou by Czech standards. Lamaã, who also collaborated on the screenplay for

16/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 16 propagandistického pÛsobení. To ostatnû zdÛrazÀuje i tehdej‰í ministr this film, adapts Schweik freely to his own purposes, placing him in zahraniãí Jan Masaryk, jehoÏ úvodní slovo bylo k této komedii pfiidáno a Second World War setting where by a set of accidents he becomes the v roce 1947, kdy byla uvedena do ãeskoslovenské filmové distribuce. servant of a Gestapo commander. Schweik is thus given an opportunity to PÛvodní anglick˘ název Nová ·vejkova dobrodruÏství byl v roce 1945, kdy se save many people from deportation to the German concentration camps. tento snímek hrál opûtovnû v anglick˘ch kinech, zmûnûn na Zaãalo to Lamaã is not driven by a need to offer a new interpretation of the Schweik o pÛlnoci. Dobové recenze, nesené spí‰e v kritickém duchu, vyzvedají theme but rather by the necessity for pro-resistance propaganda. Jan hereck˘ v˘kon Lloyda Pearsona, pfiedstavitele hlavní role, jehoÏ Masaryk, whose introductory comments as the Minister of Foreign Affairs charakterizace pfiipomíná ãeského pfiedstavitele ·vejka, Sa‰u Ra‰ilova. (vh) were added to the film in 1947 when the film was first distributed in Pátek 3.10./ 18.00 Czechoslovakia, would later also stress this fact. In 1945, when the film was redistributed in British cinemas, its original English title Schweik’s New Gustav Machat˘ Adventures was changed to It Began at Midnight. The rather critical ÎÁRLIVOST contemporary reviews complimented the performance of Lloyd Pearson, Jealousy, USA 1945 whose portrayal of the main protagonist has echoes of Sa‰a Ra‰ilov, hrají/ John Loder, Jane Randolphová, Hugo Haas the Schweik from the Czech film version. (vh) ang.verze s pfiekl./ 65 min. Friday 3 October/ 6.00 pm Filmem Îárlivost, realizovan˘m na základû pÛvodního námûtu ve své dobû ‰piãkového scénáristy MGM Daltona Trumba, zakonãil GUSTAV MACHAT¯ Gustav Machat˘ (1901–1963) svÛj profesionální pobyt v Hollywoodu. Kolem vcelku JEALOUSY jednoduché kriminální zápletky zde umnû buduje psychologické drama, USA 1945 které pfiedev‰ím pfiesvûdãivû vyuÏívá emigrantské téma pfietrÏen˘ch featuring/ John Loder, Jane Randolph, Hugo Haas lidsk˘ch osudÛ a také neodmyslitelnou v‰udypfiítomnost komplikovan˘ch In English with Czech transl./ 65 min. milostn˘ch vztahÛ. ManÏelství v Evropû kdysi slavného spisovatele s jeho Jealousy, based on an original script by Dalton Trumb, one of the leading

17/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 17 krásnou a citlivou americkou Ïenou se poãíná hroutit, protoÏe on v nové MGM screenwriters of his era, marked the end of GUSTAV zemi není schopen navázat na své nûkdej‰í úspûchy. A protoÏe je vtahován MACHAT¯’s (1901–1963) professional alliance with Hollywood. The film, do svého osobního traumatu stále hloubûji, ztrácí schopnost budování based on a fairly simple crime story, develops into an intricate rovnocenn˘ch lidsk˘ch vztahÛ. ManÏelka pak vcelku pochopitelnû pfiijímá psychological drama, focused mainly on the theme of the severed lives of nabídnutou cestu z tohoto labyrintu citov˘ch nesouladÛ. BreenÛv (cenzorní) émigrés, although continually entwined with complicated love stories. The úfiad odmítl nûkolik verzí scénáfie z dÛvodÛ „nepfiijatelného pojednání marriage between a once celebrated European writer and his beautiful and manÏelství“. Hlavní námitkou byl fakt, Ïe film ãiní „rozpad manÏelství, vulnerable American wife begins to crumble after he fails to achieve his byÈ vlivem okolností, jako záleÏitost správnou a potfiebnou“. Stejnû jako former success in the new country. Sinking more and more deeply into his v pfiípadû jin˘ch Machatého filmÛ, i v Îárlivosti jsou patrné ozvûny Extase. own trauma, he is no longer able to build genuine relationships and his Tím, Ïe se v‰ak Machat˘ soustfiedí pfiedev‰ím na osobní rozmûr konfliktu wife, quite understandably, finally accepts the offer that leads her out of the a nikoli na kritiku dobov˘ch konvencí, je tento tfiebaÏe men‰í film stále labyrinth of their emotional battle. Before the film was finally shot, the pÛsobiv˘. Vdûãnou hereckou pfiíleÏitost v nûm svûfiil Hugo Haasovi (hraje Breen (Censorship) Office refused several versions of the script, arguing that zde jednu z variací vlastního osudu), jako skladatele ústfiední písnû its portrayal of marriage was ‘disagreeable’. The censors were most critical angaÏoval Rudolfa Frimla. (vh) of the fact that the film portrays ‘the collapse of a marriage, even if under Pátek 3.10./ 20.00 the pressure of circumstances, as something good and necessary’. As with other films by Machat˘, Jealousy echoes his earlier Ecstasy. The way in which Machat˘ focuses on the conflict of two individuals and avoids criticism of the general social conventions, makes Jealousy a remarkable film, even if it does not reach the glory of Ecstasy. Machat˘ entrusted Hugo Haas (who here plays a variation of his own life story) with the rewarding principal role in the film, and Rudolf Friml composed the main musical theme. (vh) Friday 3 October/ 8.00 pm

18/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 18 poznámky: notes:

19/ âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ CZECH FILMS MADE ABROAD/ 19 bio konvikt/ September–October 2003/ záfií–fiíjen 2003 bio konvikt/ záfií–fiíjen 2003 /PONREPO /The Screening Room of the National Film Archive /Promítací síÀ Národního filmového archivu

CZECH FILMS MADE ABROAD /A Week of Czech Culture Abroad

29/09–3/10 2003 – Praha/ Prague

âESKÁ FILMOVÁ TVORBA V ZAHRANIâÍ /v rámci T˘dne zahraniãních âechÛ CZECH FILMS MADE ABROAD/ 20