Viktor arriva dall'Inghilterra, torna in patria per un lavoro importante, ma non capisce bene lavoro e la patria, Adelheid è una tedesca che, dopo la seconda guerra mondiale, deve abbandonare tutto, e tornare in Germania.
l'occhio di Frantisek Vlácil è perfetto, e non tralascia nessun particolare.
non è un film da prima serata alla tv, per fortuna.
non ti distrai un attimo e quando sembra alla fine...
pare che il regista abbia fatto dei capolavori, intanto ho iniziato con questo, senza nessuna delusione, anzi - Ismaele
In all honesty, I find
František Vláčil's cinema hard to talk about, and not because it's too complex
or difficult to interpret. The real difficulty comes when all you have at your
disposal to do it justice are mere words. You could, of course, remedy this by
presenting copious screencaps, pointing out elements you like, and yet, even in
this form, it wouldn't be enough. Not by a long chalk. It goes without
saying that his meticulously composed shots will look beautiful, but in doing
so, you'll miss the motion. You'll miss the alchemy of it all unfolding before
your eyes and the strange, haunting presence that resonates in every frame and
maybe even between them.
OK, I'll freely admit
that what I'm suggesting may sound a little hyperbolic. However, what I'm
attempting to describe is less ghost in the machine and more a presence of the
director himself – and no, I don't mean his departed spirit – that he gives
part of himself away with each film, and if you could, you'd probably see that
very essence sandwiched between the stock and the image printed upon it. The
speed of the projector or more appropriately the spin of the DVD drawer means
we miss it physically, but feel it emotionally instead. This sensibility
is something that Vláčil and only Vláčil can bring to the screen…
…Adelheid is a
taut, powerful and compelling film. A Character study on the one hand and love
story on the other, Vláčil's first colour film is not only a challenge from a
visual perspective, but also an emotional one. Though it may not be one of the
most well-known constituents of the director's output, it's no less
interesting. This is a must for any fans creating intent on creating their own
collection of the director's work or indeed, with a love of Czech cinema.
Highly recommended.
Although František
Vláčil’s directing career continued to 1987, Adelheid (1969) was the last of his films to get
much exposure outside his native country. It also marked the end of his most
creatively fertile period: in the years following the Soviet invasion of
Czechoslovakia, the Communist authorities prevented him from making features
until 1976…
František Vláčil is surely one of the
greatest directors to have ever lived. For what it’s worth, he is certainly one
of my favorites…
…The complexity of
racial history and its impact on the individual is played out between the two
main characters of Viktor and Adelheid in a way that only Vláčil can make
visible. They don’t speak each others language – at least Viktor has very
little German and Adelheid seems to be pretending she can’t understand any
Czech. Therefore much of the film is tied up in the subtle interactions between
Viktor and Adelheid that we view from Viktor’s perspective.We know almost
nothing about the two main characters. In Viktors case we only know the
little he reveals to others, and he is obviously hiding a great deal, and in
Adelheid’s case we only know what others deem interesting or important enough
to say about her. There is both opposition and attraction between Viktor and
Adelheid. Initially Viktor is attracted to her physically, but over time this
develops into an intense connection. We are never sure for Adelheid, because
she is a servant, and therefore is bereft of free will. This is left
deliberately ambiguous and open to interpretation…
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