Director:
Juraj JakubiskoGuión:
Juraj JakubiskoReparto:
Anna Friel, Karel Roden, Vincent Regan, Hans Matheson, Deana Horváthová-Jakubisková, Bolek Polívka, Jiří Mádl, Anthony Byrne, Lucie Vondráčková (más)Sinopsis(1)
"The gruesome tale of Countess Elizabeth Bathory, notorious yet obscure, has been recounted by historians, writers, poets, playwrights, musicians, painters and moviemakers. Tradition has it that Countess Bathory was the greatest murderess in the history of humankind, as documented by her entry in the Guinness Book of Records. She tortured her victims, exclusively women, before killing them. She bathed in their blood, and tore the flesh from their bodies with her teeth while they were still alive. But is that really true? In four centuries, no historical document has been found to reveal what had exactly happened. The plot of my film diametrically opposes the established legend. My story is about a defenseless widow who owns more property and riches than the king himself and who, as a result, becomes a victim of scheming from on high." - Juraj Jakubisko (Metrodome Distribution)
(más)Reseñas (10)
Impresionante en sus momentos íntimos y muy bien interpretada por los actores principales. Sin embargo, en sus escenas espectaculares es ridícula y el buen trabajo de cámara al aire libre apenas logra compensar los interiores baratos. Fíjate también en las expresiones faciales de algunos de los extras... que le vamos a hacer. Y cuando no sé cómo continuar porque mi historia no tiene un marco dramático adecuado, la divido en tres fases, que se supone que le dan un sentido. Este «éxito de taquilla» checoslovaco (que parece ser hecho para la tele) se ve exactamente como temía que se vería, a pesar de que Juraj Jakubisko es una persona y un artista tan inspirador y simpático... Bathory es un tema para Cronenberg y no para un narrador poético eslovaco.
()
I feel that the script was written by Pat and Mat, or at least they edited it, because such a choppy, confused narrative is something you don’t see every day. The first half was still narratively decent, but it got worse and worse as it went on. The story failed to draw me in, I didn't live with the main character, I was indifferent to her fate, and by the end I was so numb that even if the inventive Polívka and Mádl had constructed a plasma TV, I wouldn't have been snapped out of my lethargy. What I was most worried about – the production design and the cinematography – were quite acceptable by Central European standards, although it is true that the completely polished and ironed costumes of the villagers and Turks looked more like an advertisement for laundry detergent, and fell more into the realm of Troska's fairy tales. 3* for the visuals, the courage to embark on such a monstrous project and the effort to embrace the legend of Countess Bathory in an original way.
()
A major misstep and a cynical mockery of all those who believed the advertising campaign about "the most expensive Czech-Slovak film." And to dryly reply that "you definitely can't see where the money went in the film" is not enough for me this time. The "cleansing" of the legend itself is not bad at all, as Anna Friel is excellent and Karel Roden takes over every scene, but... where the plot requires a few more sentences and two more shots to explain "why and how?", Jakubisko prefers to play lyricist in mono-thematic images of "drug highs" and plenty of nudity. Together with a couple of cameramen, he "paints" the surrounding landscape fantastically, and even in the cheap exteriors of the village he doesn't hold his breath. But then there’s the memory of the battle with the Turks and the viewer is back in the land of Central Europe, where we apparently cannot be as worldly as we would like. Sometimes big shoulders, foreign names, and a big wallet are not enough, which is a pity because I was looking forward to this film.
()
Lots of people criticize Jakubisko for choosing his own path and not following in the footsteps of Nižnánský’s novel. But I thank him for that. You see, I am allergic to Jožo’s “Čachtická Paní". Black and white, slap-dash nonsense. On one side terribly mean noblemen who don’t have anything better to do than spend sleepless nights thinking up how best to be mean to regular folks, not forgetting then to share their diabolical plans in a fit of crazy laughter to a poor woman who is of course sensible, moral, always honest and absolutely principled without any blemish on her. All this presented in a style that wouldn’t have gotten an F even in elementary school. Not to speak about the incredible frequency of clichéd sentences like “All around was thick forest and it was so dark that it could be cut with a knife." No, thank you. At least I found Jakubisko’s “realistic" version at least likeable, even though it is still the same legend, just inside out. Here, Elizabeth is portrayed almost like a saint and the only source of evil is Thurzó and his wife. So this has nothing to do with being realistic. Unfortunately Juraj chose to worst possible running time. It’s too short for what he wants to say. And it’s too long for what he should have wanted to say. His approach of including a bit of everything, resulting in nothing in the end just doesn’t work. He should have simply edited out anything that doesn’t directly concern the conflict between Báthory and Thurzó. Leaving everything else for a TV version lasting several hours. Among its strong points, I should certainly highlight the interior camerawork, the music, the costumes and the main cast (primarily Anna Friel and Karel Roden). However, the rest of it isn’t so great. And it’s a shame, because I wouldn’t hesitate to rate the main storyline very highly, while the rest of it (mainly the horrendous post-production dubbing and awful exterior camerawork) deserves barely two stars. And I would give zero stars for the Monks duo, utterly superfluous, combining the Name of the Rose with the ingenuity of the central pair from Stoppard’s play “Rosencrantz a Guildenstern Are Dead". So a little higher than mediocre, hiding a diamond-tipped needle that you occasionally glimpse shining in the corner of your eye, but that immediately disappears again into a rotting haystack.
()
A film I'm really proud of. I respect Mr. Jakubisko for his magnificence. A gem among Czech films. Perfect music.
()
Where’s the splatter movie about a woman who bathed in blood? Herbs, after all... how lame. Boring, no atmosphere, nothing worth remembering. The story doesn’t hold together and of the actors, only Roden sticks out, the others don’t deliver anything special, but on the other hand it’s not embarrassing (even Upír Krejčí was ok in his mini-role :-). But mainly I had the feeling that this movie lasted about three and a half hours. Never again.
()
Kindly uninitiated viewers will forgive me, but when I first read several very different books on the subject of Bathory long ago in the year 2000, I came to a similar position to the one Jakubisko presents today in his latest blockbuster. So logically, I'm excited. I see the entire negative media halo around the film as a pure reaction to the endless delaying of release dates and the general hype around the cost, which is none of the audience's business anyway. On November 9, 2009, I finally got the DVD and I can better take stock of my older movie theater experience. My basic understanding of it truly doesn't change. The biggest scarecrows of the project (Mádl and co.) were only cast in supporting roles anyway, and the entire dynamic of the story, which is by the way visually wonderfully sophisticated, is based on Jakubisko's direction and set design, camera work by Ďuriš, Brabec and Kende, music by Jirásek, and costumes by Pecharová. I, of course, appreciate Jakubisková's work for her perseverance and I fell in love with Anna Friel's performance. It made such a strong impression on me that I don't have to deal with the fact that the trio of Roden, Regan, and Matheson doesn't work that well for me. On the other hand, Monika Hilmerová was also excellent and Jakubisko's "discoveries" from Post Coita Pogodová, Greneche, and Elsnerová were absolutely fine. I have had the opportunity to watch all three versions - Czech, Slovak, and English, all the omitted scenes, and my enthusiasm for it only grows stronger. I can't wait for the planned series cut, which I hope will be dominated by Erzsébet Czobor. Moreover, knowing that since the end of the 1950s only B-movies, or at most one decent Hammer horror film, have been made on the subject of the Čachtice legend, I can safely compare Jakubisko's version with Viktor Kubal's magnificent animated film The Bloody Lady and be satisfied.
()
Well, it turned out better than Janosik: A True Story, thank goodness for that. But not by much. Unlike the aforementioned bandit, I didn't have as much of a problem following Bathory to the end, because most of the time there was at least something and someone to watch. Primarily Anna Friel and Karel Roden. Thanks to Brabec's cinematography, quite a few scenes looked as if the director had borrowed them from Wild Flowers or, even worse, from Máj, but at least I got the impression that most of them belonged in the film and that they were not just the director's "Oh, look at the beautiful pictures" whim. The biggest minuses are definitely the "funny" characters of the monks, the annoying dreams and hallucinations... And Franco Nero. His fans will forgive him, but he didn't need to be here at all and everything would have been fine. But apparently it was necessary to attract "star" names. Well, whatever. In the end, I come out with three slightly, slightly above average stars.
()
I am more (or less) at a bit of a loss with Bathory. On the one hand there is finally a bit of a revival of Czech cinema with at least a slightly better and more monumental movie, however, there are also a bunch of stupid mistakes in Bathory that should never have been there in the first place. This makes Bathory just an average movie. The biggest stumbling block is undoubtedly the screenplay, which at a certain point, jumps and changes its tune from one moment to the next, and the rest of the plot whizzes past you like a high-speed Bullet train. The tension in me rose only momentarily, when Erzsebet stabbed the maid Sara with a pair of scissors just as the courtier were passing by the hall. This was really the only scene that affected me. The actors do make the movie seem less messy (especially Anna Friel, who is really the highlight of the movie), but unfortunately, it is not worth awarding the movie more than three stars. I am awarding it a clean 50%.
()
Bathory está dividida en tres partes, que llevan el nombre de las personas que tuvieron mayor influencia en la vida de Alžběta. La primera parte me pareció como un drama histórico, que muestra el matrimonio de Alžběta y Nádašdy en el contexto de las batallas con los turcos. Sin embargo, la segunda parte se convirtió en una mezcla de géneros y admito que me perdí en la trama, algunas escenas parecían no estar relacionadas entre sí. Y aparecieron dos personajes que me irritaron y molestaron durante todo el tiempo: los monjes interpretados por Polívka y Mádl. Afortunadamente, la tercera parte, centrada principalmente en la guerra personal de Alžběta y Thurza, fue excelente. En última instancia, me inclino hacia las cuatro estrellas. Encuentro positivo que Jakubisko no haya seguido el camino de una simple adaptación de la novela de Nižňanský y en su lugar haya elegido retratar a la condesa como una figura histórica real y buscar la verdad. Sin embargo, como diría Juraj Thurzo: "La gente prefiere las leyendas a la verdad". Pero Jakubisko es un gran director y no tiene que rebajarse complaciendo al espectador con una película de terror. Una lástima por esos monjes vergonzosos. ¡Ya fue suficiente con Polívka!
()