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Intimate Lighting (1965)

(บรรยายอังกฤษ)

 

Directer: Ivan Passer

Writter: Jaroslav Papousek, Ivan Passer, Václav Sasek

Running time: 71 min

Country: Czechoslovakia

Language: Czech
Genre:
Comedy | Drama | Music

Subtitle: English
Starring: 
Zdenek Bezusek, Karel Blazek and

Miroslav Cvrk 


ควรค่าน่าดูตรงที่
เป็นภาพยนตร์เชคในปี1965 แต่อีก5ถัดมาสมาคมนักวิจารณ์แห่งชาติ(USA)ยกย่องให้เป็น film of great originality ในปี1970 และมอบรางวัลRichard and Hilda Rosenthal Foundation Award ให้ในปี1973คริสซ์ทอฟ คีย์สโลสกี ผู้กำกับชื่อดังกล่าวถึงหนังเรื่องนี้ว่า เป็น1ใน10หนังที่เขาชอบที่สุด

 

 

 

Appreciation:

 

"(One) of the ten films which have most affected me" - Krzysztof Kieslowski

"Intimate Lighting is one of the best European films of the 1960s" -
Roger Ebert

"One of those very special movies... it loses none of its charm, to age or to repeated viewing" -
New York Times
 


Special Features:
- Newly filmed interview with director Ivan Passer (18:38)
- Digitally re-mastered with restored image and sound.
- New and improved English subtitle translation.


Review:

 This wonderfully subtle comedy is the debut film of a great director and a signature work of the Czech New Wave. Ivan Passer''s film concerns the dreams of two musician friends, one of whom, having left their small hometown to become successful, returns to visit the other who stayed behind at the local music school. Focusing on the humor of the ordinary and routine and expertly shot by Miroslav Ondricek, it shows true affection and understanding for all its characters to become that very rare thing in comedy -- a work of great originality and universal acceptance.
 


Forty years on, the still, small voices of Ivan Passer`s only Czech-made feature Intimate Lighting (Intimní osvětlení) continue to resonate with undiminished charm. This casual-seeming chronicle of a weekend in the countryside of latter-day Bohemia, where two old friends meet up to make music again and reflect how differently their lives turned out, is an apparently artless collection of comical vignettes of everyday existence that cleverly construct a quietly devastating portrait of illusions crumbling and ambitions unfulfilled.

Shot in the sultry summer of 1965 on real locations in Tabor, the film was premiered at Cannes in the following year, perhaps ironically winning their Youth Prize, and an ageless international reputation. After the incursion of the Russians into Czechoslovakia in 1968 and the subsequent stifling of the ‘Prague Spring’, Passer went into exile in the United States, where a career of not quite a dozen different American features (most memorable perhaps being Cutter’s Way, aka Cutter and Bone, starring Jeff Bridges, which was screened at Venice in 1981) ever brought anything like the plaudits for his contributions to the birth of the Czech New Wave, alongside his close collaborators Miroslav Ondricek and Milos Forman. Intimate Lighting was theatrically released in the United States late in 1969, winning the director a Special Award from the National Society of Film Critics in 1970. Thanks to the ''Velvet Revolution'' in his homeland in 1989, the film has since found renewed fame at the Berlinale - in 2002 - and Passer has been belatedly feted at the spectacularly regenerated Karlovy Vary International Film Festival. He continues to reside in the United States.
 


Intimate Lighting could be described as a dramatic comedy in which nothing very much happens - many times over. It charts the course of a music-, beer-, and slivovitz-fuelled weekend visit by a town mouse to a country mouse. Petr is a professional soloist and brings his very modern mistress to the highly provincial home - self-built at that, every brick counted - of his old friend from the music academy, nicknamed Bambas, who is now weighed down by the responsibilities of the post of Head of the local Music School, and the demands of family, crying kids and querulous parents-in-law, not to mention sundry hens roosting in his modest Lada. The gentle flood of ironic contrasts, glancingly offered by the 71-minute film, are witty and affectionate, rather than knowing or moralistic.

The tone is set right from the opening credits which in crisp black and white (co-cinematographer was Miroslav Ondricek, who also lit Milos Forman`s first, Czech features as well as his award-winning ´Hollywood` productions) are strung across a school blackboard, in front of which a somewhat harassed conductor is eventually revealed haranguing a mostly elderly all-male orchestra as they merrily murder Dvorak'' s Cello Concerto. They are apparently rehearsing for a large-scale concert which is to be graced by a visiting soloist. Bambas (Karel Blasek) is first sighted typing in his office, captured at the machine, before he gets up and passes through an adjacent music lesson into the rehearsal room where he takes up his instrument (which, as we later learn, like his fishing rod, is one of the few things that seem to infuse his humdrum existence with any hint of passion or pleasure). When quizzed by the conductor, Bambas assures him that he has asked the virtuoso to arrive a day before the concert to allow time to rehearse with them all. Tickets have apparently been selling well for the event.
 


The camera pans across the players, all - save one pre-teenage boy - of rather advanced years, and its movement continues, to reveal in silhouette the arrival by train of Petr (Zdenek Bezusek, his chiselled features vaguely resembling an ageing Paul Newman) and his attractive girlfriend Stepa (played by Vera Kresadlova, looking like a darker-haired Julie Christie). The couple are met, in a circling motion, by Bambas, who takes them to his house, which is first seen through its metal-grille gate.(Later, when Stepa post-parandially prowls around the garden, she is framed by the wire netting, which seems to trap souls within the homestead as much as protect it from possible invaders.)
 


Wife, mother-in-law, tiny but noisy children, are duly and deftly introduced and the plot-less narrative unfolds, with only the presence of Forman regular Jan Vostrcil trying to impose himself as a bon viveur and ladies`man. He invites the visitors to join a funeral where he and Bambas earn pocket-money by playing sad songs for the mourners. ("People enjoy different things everywhere", opines the sagacious old man, "but sorrow is always the same".) After the service and solemnly-observed burial, a lively wake sees the musicians playing a different tune as grannies dance and beer and home-made schnapps flow like water. At home, the cooked chicken is ritually apportioned (a delightfully amusing sequence sees the hapless bird literally fly from the plate of one self-sacrificing guest to the next!) and the men retire to mangle Mozart while the women exchange reminiscences, Grandma revealing that she too considers herself as modern a lass as Stepa, while the children, thankfully, doze in another sun-lit room. Stepa parades foundling kittens to Petr`s evident indifference but later, after some discreet tussling behind closed doors (to the clear delight of Grandpa in the next room), in the dead of night the old school-friends get together for a prolonged session listening to music, raiding the larder, and lubricating their dreams with drink.
 


Bambas encourages Petr to pick up his instrument and set off with him into the world outside, to start anew, as itinerant musicians. But on the brow of the hill, car-lights remind us that Petr is still wearing his pyjamas, and there is no escape. Sunday sees the old friends at the table on the alfresco terrace, mightily hung-over, as the family re-assembles for another meal. They toast with Grandma`s newly-made eggnog, but it is so solid it sticks in their glasses and the film ends with the characters frozen in long-shot, forever caught in their place in the world.

Rich in amusing little incidents, and sometimes surreal quotidian details, Intimate Lighting unassumingly sets up its contrasts between town and country, young and old, with the feel of a modern-day fairy-tale (Stepa is harmlessly courted by the village idiot, unselfconsciously offering him a bite of her apple); but there is no lecturing from the director at all, no pointing of any moral, let alone any politically-motivated assessment. Like all true classics it is so sharply anchored in its time and place that it cannot help but speak, if softly, to viewers far away in every sense. It remains a refreshing distillation of life, or something like it.
Phillip Bergson


Awards:2 wins

National Society of Film Critics Awards, USA
Year Result Award Category/Recipient(s)
1973 Won Richard and Hilda Rosenthal Foundation Award Ivan Passer 
For a person working in cinema whose contribution to film art has not yet received due public recognition.
 
1970 Won Special Award Ivan Passer 
For a film of great originality.
 


 



เข้าชม : 2547    [ ขึ้นบน ]
ภาพยนตร์เรื่องนี้อยู่ในประเภท: classic: recommend



หนัง classicเรื่องอื่นๆที่น่าสนใจ..ลองเข้าไปดูซิครับ