Masaryk
Director:
Julius ŠevčíkCámara:
Martin ŠtrbaReparto:
Karel Roden, Hanns Zischler, Arly Jover, Oldřich Kaiser, Paul Nicholas, Milton Welsh, Dermot Crowley, Tim Preece, Gina Bramhill, James Flynn (más)Sinopsis(1)
He lived the life of a bohemian who loved women, music, grand gestures and grand struggles. His heart and soul were a battleground where the extravagance of a free spirit contended with the morality and duty of a government official and diplomat. Jan Masaryk's death is cloaked in secrecy to this day. But his life, too, was full of secrets! This dramatic story devoted to the life and fortunes of Jan Masaryk, a diplomat and later Czechoslovak foreign minister, takes us back to the run-up to World War II. The man who was Czechoslovak ambassador in London suddenly vanished from public life, cutting himself off from his political colleagues and friends. What happened to him during the months when he disappeared in America? (Bioscop)
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Reseñas (7)
Merece el mismo número de estrellitas como Operación Anthropoid, pero por otras cosas. Masaryk no está lleno de acción u hombres guapos y tampoco tiene un motivo de amor. Es una película política que contiene sexo y drogas, las escenas de la mitad del metraje son de un hospital psiquiátrico y en realidad está dirigida a espectadores que aprecian un toque más artístico de una manera más especial. Su objetivo no es impresionar con una historia emocional, sino de forma digna, formalmente a nivel mundial, mostrar un resumen de hechos históricamente significativos en torno a un personaje. Todas sus nominaciones para el León Checo son merecidas. Desde el guión que conecta razonablemente el estudio del decepcionado Masaryk exactamente con los eventos históricos clave que me interesan, pasando por muy buena captura de la época y la atmósfera lúgubre de todos los lugares (especialmente los interiores de los palacios, las oficinas con cortinas iluminadas desde el fondo - que son geniales), a (por supuesto) súper actores. Es una vivencia cinematográfica un poco fría, pero vale la pena.
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Ať už k Masarykovi přistoupíme jako Akademie nebo Kritici, tzn., že je to film z roku 2016 nebo 2017, jedná se o veskrze průměrný film, který může nabídnout jako nadprůměrné pouze herecké výkony Rodena a Kaisera (ale známe také jejich ještě lepší role) a masky, případně hudební složku filmu či pár zajímavých scén. Takže umělecky nedosahuje kvalit Hepnarové, Rodinného filmu ani Špíny, Kvarteta nebo Báby z ledu. Přeceňovaný film, kolem kterého se vytvořil zbytečný humbuk. Palec nahoru mají Kritici za to, že odmítli Masaryka zařadit mezi filmy z roku 2016 a v porovnání se snímky z roku 2017 obstál pouze Roden.
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An absolutely world-class movie that will however only be appreciated by a Czechoslovak. As one could expect, it’s full of fundamental dialogues that will best be absorbed by a historian or a Czech with an interest in history. Personally, I found interesting the conversation with Konrad Henlein, which wasn’t really fundamental for the movie, but a person in the know will immediately notice it and they will take in every single word that he exchanges with Jan Masaryk. To this I can add that I read through several opinions of historians regarding this film and I am glad that the authors tried to be as historically accurate as possible. On the other hand, I’m a bit sad that the beautiful cinematography, which in my opinion is of world-class quality, that takes the viewer to the USA, England but also to Nazi-occupied Prague, wasn’t a bit more dynamic. But everything was made up for by the acting performances: Karel Roden was absolutely excellent, but Oldřich Kaiser as Edvard Beneš was even better. All in all, I have to say that the last time I saw such a good and stylish movie in the Czech Republic was when In the Shadow came out. At the same time, I am glad the authors clarified several historical situations and I would like to thank them for making it possible for a movie like this to be made.
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If you want to get your feet in it, it requires more than general knowledge in pre-Munich political plots. In other words, it´s more for knowledgeable viewers. But at the same time, it's not even for those who has a basic idea about the topic, because it doesn't offer them anything they wouldn't already know. It does not go into too much details in this regard. The same can be said about the plot frame that is done through the mentally broken Masaryk as a person who feels betrayed and at the same time he feels that he has betrayed as well. It is not that this mode is not interesting, but it does not get under your skin so simply put, it does not do the job. And then all the art-like shots of shattering waves, etc. In any case, as a feature film version of the Czech Century TV series, it's not really bad at all.
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It is a pleasure to see Julius Ševčík's journey through Czech cinema, and yet it is also worth asking whether three films in the space of a decade are really enough to prove his talent. Very briefly: Masaryk is a necessary film, whether for its genre or the choice of the person it follows. It is skillfully shot, interesting, fits into the color of the Munich stigma, and offers up another shard. Those less familiar with the subject will at least be introduced to the nature of Jan Masaryk's foreign travels and hear Roden speak in foreign languages. For me, it’s a yes.
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