Cinema - Event posted by Simo
A film by Juraj Herz. With Rudolf Hrusínský, Vlasta Chramostová, Jana Stehnová, Milos Vognic. Czechoslovakia 1968, duration 102 minutes.
Subtitled in Italian
Gray and mellifluous in the cremation of corpses at a Prague mortuary and a loving family man, he hides unexpected impulses and an excessive economic and professional ambition. When the German occupation and the insinuating racist ideology of the Third Reich begin to ramify their perverse power system in the country, he is irretrievably ensnared with tragic consequences for colleagues, acquaintances and members of his own family considered to be of impure race .
Like the incessant and obsessive monologue of a relentless bureaucrat of Evil, the protagonist's voice accompanies from beginning to end this gloomy comedy of horrors, where in the folds of a personality devoid of any moral sense (dream of an abstruse animist discipline read between the pages of a Buddhist atlas) and the pneumatic emptiness of a real critical conscience (it limits itself to replicating with uncritical emulation the political ideas of its cultured or interested interlocutors) aligns the perverse germ of a feral discipline, the definitive sunset of civilization and progress, the programmatic extermination of the human race. Set on a register of grotesque theatricality, Herz's film is a cruel apologue on the 'sleep of reason', where the ferocious and primordial instinct (the film begins with the shape of a spotted feline nervously shaking its cage) like the irrepressible and morbid sexual impulses of the protagonist, prevails over the rationality and the judgment of a mind clouded by the soothing sirens of Venus and the easy goal of an obscure design of death. The figurative presages of this ethical degeneration are made explicit by the use of a photograph of grim coldness and by the repulsive theory of close-ups, almost to underline the squalor of physiognomy showing the alarming signs of a disconcerting affection, the epidermal disease of a laud promiscuity ( often the film yields to the provocative language of a blatant pornography as in Nazi orgy based on blondes and bubbles). Definitely monitored on a symbolic level (the aforementioned initial scene of the zoo, the demented appearances of a couple of litigious spouses and the mysterious presence of a pale and cadaverous lady in black) the film stands on the plane of a delusional expressionism relying on dreamy and unsettling impulses of an original assembly (by the good Jaromír Janáček) and virtuous machine movements (by the acclaimed Stanislav Milota). Perfect in his characterization of a slimy master of the 'normalization' the fat beaker interpreted by Rudolf Hrušínský who is wandering in the final scene of a methodical and scientific project of purification on a global scale against the disquieting background of Hell of Bosh, after (almost) carried out his cold extermination project on a local scale. Little delirium of a family holocaust.
This page may have been translated using the Google automatic translate engine; please excuse any mistakes this translation might have.