Vsichni dobrí rodáci (All My Good Countrymen) - Vojtěch Jasný

prima di essere censurato dal governo ceco-russo dopo l'invasione del 1968, Vojtěch Jasný ha fatto in tempo a girare Vsichni dobrí rodáci, la storia di un paese di campagna (ispirato alla cittadina del regista, Telc) con la sua birra, la sua orchestrina, i suoi cittadini alle prese con i problemi quotidiani.

però l'economia del paese è in mano di emissari del governo, che vuole collettivizzare la produzione dei contadini, che provano a resistere.

un film che merita.

buona (contadina) visione - Ismaele

 

 

QUI il film completo con sottotitoli in spagnolo

 

 

 

…The film is based on real events and many of the characters were inhabitants of Jasny’s native Kelc. It’s a labor of love film, a personal story reflecting a significant historical time that Jasny felt had to be told. It tells of the break up of long friendships among the countrymen (the seven pals of the Merry Widow), and how Communism caused disharmony to a functioning farming community that was proud of its heritage. It led to ruin in the community as farm properties were collectivized by those who cared little about farming.

What’s exceptional is how the Bruegel-like landscape comes alive as a pastoral paradise, as its illuminated in its green fields, blooming trees and from the golden sun. An old wrinkle-faced woman periodically pops into focus without saying anything, and she represents the old ways elevating the story into an allegory. It has been said by others that the film is “a psalm sung about the destinies of the land.” In any case, it’s certainly one of the best films to tell about the grave problems created by collectivization of the countryside and is considered by most as the best work in Jasny’s long career.

da qui

 

Called the spiritual father of the Czech New Wave by Milos Forman, Vojtěch Jasný, whose father died at Auschwitz and who participated in the anti-Nazi resistance, began as a true believer in Communism. Vsichni dobrí rodáci is the rich product of his disillusionment. A tapestry of the interwoven lives of Moravian villagers based on actual persons Jasný knew from his own small village, it was one of the last Czech films to be made prior to the 1968 Soviet invasion, after which it was promptly banned.
 The film covers postwar life in a small village beginning in summer 1945. The opening movement, set prior to the advent of Communism, is a good-humored idyll, executed charmingly and with restrained lyricism. The second movement, in spring 1948, announces the changeover—literally, by an official voice over a loudspeaker! Some of the characters who were introduced in the first part are now reintroduced as members of Party officialdom. (Others leave.) But one image encapsulates the shift to collectivization and Party constraint: a white horse galloping every which way across the snow-clad earth, seemingly in frantic search for evaporated freedom.
The young postal carrier is killed by a bullet meant for another Communist; the village priest is arrested. A man slips ever deeper into drunkenness, haunted by the ghost of his wife, whom he divorced during the war because she was Jewish, thereby sending her to her death. Dogs and geese at a barnyard standstill symbolize the unhappy village. A dream of death becomes real: a man is buried by an avalanche of goose feathers in a field.
 One man, František, emerges as the leading opponent of the new order. The gorgeous seasons, communal celebrations full of song and dance—life itself fortifies this opposition. Oh, and the collective farm fails.

da qui