Foto:
Han Productions
Women saw themselves in her, men desired her. The ideal of beauty of the 1950s and 1960s was the French actress and model Brigitte Bardot, who is celebrating her 90th birthday this Saturday. Younger generations know her as a fighter for animal rights, in her native France she helped enforce a law on a more merciful way of killing in slaughterhouses. We recall her most famous roles.
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Tomas Stejskal
28. 6. 2024 6:41
He turned well-known for his function within the movie The Loners, on tv he gave his greatest efficiency thus far within the current Suspicion and gained his seventh Czech Lion for The Charlatan. Ivan Trojan, some of the widespread Czech actors, is celebrating his sixtieth birthday this Sunday. On the Karlovy Range competition, which is simply beginning, he’ll obtain an award for his contribution. It is a chance to recap his profession thus far.
Ivan Trojan as God within the manufacturing Clogged System. | Photograph: Hynek Glos
Celebration on stage
“Dude, who is that this?” asks Hynek ฤermรกk on the stage of the Dejvickรฝ Theater, at the moment remodeled into a grimy little spit on the outskirts of Edinburgh, Scotland. “It is God,” one of many regulars replies, gesturing towards a person standing by the bar carrying striped, feces-stained pajamas. To Ivan Trojan.
A play by author and playwright Irvin Welsh Clogged system it was some of the widespread within the repertoire of the Dejvice Theatre. And at its launch on June 30, 2014, Ivan Trojan might certainly really feel a bit of like God, although actually not omniscient.
When Miroslav Krobot shot at him with the unmentioned line “How outdated are you?”, the favored actor froze considerably. After which the efficiency was interrupted, and precisely on the day the fifty-year-old God in stained pajamas stood in entrance of a corridor stuffed with pals who had secretly made a movie about his life for him. The night was a festive screening.
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It rains a lot in Moravia. It is not only a generally shared popular idea that the Moravians themselves often proudly subscribe to, but also the basic definition of the inhabitants of the village of Houลovice, where the new Czech comedy Franto the Alien takes place. Not even a flying saucer landing behind everyone in the night will change things in the movie, which has been showing in theaters since Thursday.
Forty-seven-year-old director and screenwriter Rudolf Havlรญk changed the genre after countless romantic comedies. He remembered the first movie he saw as a child and asked what would happen if ET alien he landed in Moravia instead of Texas. Havlรญk answers the question with a picture that actually says that nothing would happen.
Franta is a local punk who, as usual, drinks a little too much at the wedding party. At night, when he gets behind the wheel of a tractor equipped with a Just Married sign and cans tied to the back of a flatbed, he will not drive himself or a similarly dressed colleague further than to a field not far from the celebration. Unfortunately for them, exactly where a flying saucer will land at any moment.
Frantiลกek thus acquires an intergalactic visitor who needs to borrow his body in order to travel back again.
From there, you can ask all kinds of questions. Why does ufoun need a foreign body that he can’t even properly control and doesn’t move around the village in his normal form? They could be mimicry, but this is how the creators save on effects, and everything extraterrestrial is provided by Jakub Prachaล in the role of Franta, who from this moment on stumbles around the surroundings as if he had rickets or if he drank beer with some pills. And it makes funny noises.
Although Frant has an impeccable woman waiting at home, who understands his eccentric behavior, because this “model” is not that different from how the overgrown boy behaved normally in an adult body.
Fortunately, Jakub Prachaล in the role of Franta has an impeccable wife waiting at home. She is played by Tereza Ramba. | Photo: CinemArt
It is true that at first the purely physical comedy surpasses most of the humor in Havlรญk’s earlier romantic comedies. A village full of figurines and drunkards is a safer terrain than Prague, in which the author in the 2022 film Prezidentka set a fictional Czech president and a charming, perfect, modest widower who peers into her.
While these attempts to write real characters always turned out tragically and were full of sexist and other stereotypes, Havlรญk is noticeably better at playing village characters.
Tereza Ramba plays a strong, determined woman who, although she hates Franta, who is supposed to be a drunkard, she actually understands him. In the end, this couple, together with the space fanatic Blaลพej and the girl who appears in the village to investigate an alien mystery, represents the most romantic thing that has appeared in the director’s work so far.
To make no mistake: we are still moving in a situation where the highlight of the sitcom is Erika Stรกrkovรก in the role of a policewoman, who gives sharper slaps than Helena Rลฏลพiฤkovรก. And at the top of that verbal explanation like: “There is nothing here, this is Brno.” Alternatively, Franto’s comment when looking at the background of his sweetheart: “That’s a very nice bilobed formation.”
Otherwise, Franta the Extraterrestrial is above all a film that, based on the basic premise of a visit from another planet, is unable to depict anything even remotely similar to the plot.
The movie Franta the Alien is showing in cinemas from Thursday. | Video: CinemArt
The young man Blaลพej, equipped with binoculars and knowledge of constellations and black holes, wanders around the village, constantly explaining to the mayor or anyone else that aliens are here, but no one cares. Unfortunately, there is not enough information of this kind to help our natives get away from cards and beer. And so the film cycles through episodes that keep working with the nature of the locals.
Leoลก Noha plays a non-stop dialed-up landowner. He keeps cursing that something destroyed his roof and that someone is making circles in his field.
Erika Stรกrkovรก as Markovรก and Jakub Prachaล as Franta. | Photo: Vojtฤch Resler
The mayor, played by Vasil Fridrich, is most afraid that an inspection from the European Union will not come, because someone stole the cistern for which they received subsidies and put it in the collection. And so on.
They are jokes about something like the Czech nature, but very lazy. They settle for less. And above all, they stop working when we see and hear their fifteenth variation.
In the film, someone constantly claims that the entire village is full of aliens, but unfortunately, the creators do not manage to create any kind of convincing open-air museum of weirdos. On the contrary, everyone here is quite normal, and nothing interesting arises from allusions to various social and individual ills.
The film is the exact opposite of the classic conventions of the science fiction genre about a clash with an alien civilization. In the plots of these works, it either happens that everyone is very well aware of the presence of Ufouns, because it is a matter of life or the outright destruction of the planet. Alternatively, the heroes try to hide the alien individual from the representatives of the security forces, who are eager to cut him up and dissect him.
Franta the Alien is based on the fact that most of the film, the protagonist tries to convince everyone that he is an alien with his bizarre voice. Blaลพej, or later other characters, strive for the same. But the answer is always a condescending “tovรญลพejo”, accompanied by an imaginary tap on the forehead.
It’s actually the perfect guide to dealing with the traumatic fact that the planet has been visited by intelligent beings from outer space. Just wave your hand over it and tap your forehead. Why bother with something science fiction.
Grainy black and white footage follows the face of a racer completely engrossed in the ride. There is tension in them and a certain abstract beauty of film material from the days when cinematography was still mostly silent. The protagonist of the film Ferrari, which has been shown in cinemas since Thursday, last raced in 1932. However, director Michael Mann’s new film captures Enzo Ferrari in a much more complicated period of his life.
The year is 1957, ten years after the protagonist and his wife Laura, played by Penรฉlope Cruz, founded the Ferrari car company and racing team. Director and co-writer Mann with colleague Troy Kennedy-Martin focuses on just a few months in the life of a man whose face reflects many tensions.
His factory is a dream come true and he has become a celebrity, but the company is in danger of bankruptcy. Ferrari is dealing with the grief of his son’s death, with the pressure of the public, with the fact that he has to mercilessly command his drivers and other employees because it is expected of him. He and his wife already live in partial separation, although she had no idea until now that Enzo Ferrari not only had a lover, but also a son.
In a short period of time, a second film biography appeared, examining the family and work troubles of the protagonist. Similar to Maestro about the fate of the composer and conductor Leonard Bernstein, Ferrari’s film is also full of pauses, omissions and understatements, with the help of which he tries to portray a complicated, impenetrable individual. Nevertheless, there are differences between these works. Where one tends to fail, the other triumphs.
While Bradley Cooper in the role of Bernstein was brimming with effort and pushing the saw, however much he tried to dampen these mannerisms directorially and otherwise, Adam Driver as Enzo Ferrari gives a truly mesmerizing performance that doesn’t need too many words. And not really many facial expressions. At the same time, his wide face and its subtle changes hide both a saddened man broken by tragedy, a loving partner or a steel-cold boss who suspects the approaching apocalypse.
Michael Mann precisely rhythms his film, cut to the bone in many ways, by alternating quiet passages with bursts of noise.
Adam Driver as Enzo Ferrari gives a mesmerizing performance that doesn’t need too many words. | Photo: Lorenzo Sisti
The racing segments, usually in similar works or the Netflix documentary series called F1: The Desire to Win, capture the mixture of intoxication and danger of extreme speed. But perhaps nothing outright threatening or ominous could be felt from these sonic attacks on the audience.
These excitements are in the news a foreshadowing of the crucial Mille Miglia race, which is run across Italy and in which the success of the Ferrari team is essential for the survival of the company. However, the 1957 event ends a terrible disaster.
The film does not portray Ferrari as a monster, but his cold presence in many moments certainly does not feel like a marble monument. When he is accosted at an intersection by a famous competitor, the hero drives off at the green light without giving any indication that anything more than a pesky insect has appeared next to him. When one driver succumbs to injuries during test drives, Ferrari seems to see nothing more than the need to replace parts in the broken machine.
Mann did not make a portrait of the auto giant. On the contrary, he created a dark and hopeless film about a person who often looks more empathetically at a well-running engine than at the people around him. Without, of course, the director slipping into a caricature or some simply critical tone. Enzo Ferrari is a fascinating subject, a strange colossus capable of emoting but often insensitive to what’s going on around him.
The creator, who was made famous by complicated crime films such as The Merciless Duel, has been telling more and more abstract stories lately. One can imagine that someone will reject the novelty as too aloof. In 130 minutes, not much happens in it, it does not focus primarily on racing and the tension of who will win. Michael Mann presents a rather depressing study of a man on the brink, who is still the center of public interest, but at the same time everything around suggests that the world he created is collapsing.
Czech cinemas are screening Ferrari from Thursday. | Video: Vertical Ent.
Many pictures from the Formula 1 environment have focused either on the rivalry between the racers, which was the case of Rivals by Ron Howard from 2013, or on the feuds within the stable like the more recent Le Mans ’66 by director James Mangold, creating above all the heady feeling of the world of noisy engines that turns men into eternal boys.
Instead of this high-octane poetry, Michael Mann draws a much more harrowing environment, in which it is not so much a battle or a symbiosis of man and machine, but rather whether the hero himself is just a machine, desperately trying to keep the parts of his colossus together. And at the same time, many important things slip through his fingers.
Adam Driver lends this “machine” a bewitching charisma. Still, the film thinks much more about the hard bumps than about the moments when you drive down the finish line.
2024-01-05 13:36:36
#Ferraris #biography #fascinating #film #speed #intoxicating #frightening #Currently.cz
