The plot focuses on the 1960s and 1970s, when the young playwright Havel (Viktor Dvořák) presents his plays and struggles with censorship. The short happy period of the sixties ends with the arrival of tanks from the east, here accompanied by not exactly the original detail (shaking the cup), which we have already seen in other films.
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On the contrary, alienating ideas with the world as a theatrical performance fit into the film and give perfect meaning – after all, Havel considered himself primarily a playwright.
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Martin Hofmann a Viktor Dvořák
Photo: Bontonfilm
For many people, the occupation meant a complete end, a resignation, but not for Havel. Although he doubts, he shows self-destructive courage, he continues to fight the communists consistently, demanding respect for the law and human rights. He won’t even give up in prison. The Estébáci do not know what to do with him, so they offer him a departure to the West, but even Havel can resist.
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Havel’s biography is very well known, so the Czech viewer may be a little bored, but to the eyes of a foreigner it must seem like a surprising drama. At the same time, it should be added that we do not know much about the work and ideas of VH, but this is a problem of all films about writers and intellectuals.
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In short, film is not a suitable medium for conveying deep thoughts – for a certain kind of superficiality, for speed, for short, it has a tendency in its essence.
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Anna Geisler in the film Havel
Photo: Bontonfilm
However, he tried to portray the psychology of the fine intellectual Havel quite successfully. He finds the opposite in the wild, noisy Landovský’s companion (Martin Hofmann), who cannot withstand the bullying of the communists and gradually decides to emigrate.
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The film also sensitively suggests a gap that is emerging between dissidents and the frightened average population. Havel realizes that he cannot make the same demands on everyone and, unlike the explosive Landovsky, does not force strangers to sign any petitions.
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Horák concentrates on personal life, a difficult relationship with Olga, whom Havel cheats on, but he can never leave her because she is his “first lady”. An insecure and unbearably indecisive hero would like to live with her and his mistress at the same time, which explains them in one of the funniest scenes of the film, when he is watched by several estébáky.
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Olga (Aňa Geislerová) is, of course, worried, but the question is whether the film didn’t exaggerate. The film character is constantly upset and frowning, while the real Olga Havel looked more like a balanced wise woman.
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In any case, both Viktor Dvořák and Martin Hofmann play well, and Stanislav Majer, Barbora Seidlová or Jiří Bartoška assist them in other roles.
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Overall rating: 70%
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