Marketa Lazarova (1967) [The Criterion Collection #661] [Re-UP]

Posted By: Someonelse

Marketa Lazarová (1967)
2xDVD9 | VIDEO_TS | Cover | NTSC 16:9 | 02:45:38 | 14,7 Gb
Audio: Czech AC3 1.0 @ 192 Kbps | Subtitles: English
Genre: Art-house | The Criterion Collection #661

Director: Frantisek Vlácil
Stars: Josef Kemr, Magda Vásáryová, Nada Hejna

In its native land, František Vláčil’s Marketa Lazarová has been hailed as the greatest Czech film ever made; for many U.S. viewers, it will be a revelation. Based on a novel by Vladislav Vančura, this stirring and poetic depiction of a feud between two rival medieval clans is a fierce, epic, and meticulously designed evocation of the clashes between Christianity and paganism, humankind and nature, love and violence. Vláčil’s approach was to re-create the textures and mentalities of a long-ago way of life, rather than to make a conventional historical drama, and the result is dazzling. With its inventive widescreen cinematography, editing, and sound design, Marketa Lazarová is an experimental action film.


I have so much to say about “Marketa Lazarova” (1967) that I feel I should only say a little. Even a brief report so soon after seeing such a remarkable film is like relating the experience of riding out a hurricane before having a chance to dry off. Czech filmmaker Frantisek Vlacil's historical epic is a sensory overload, all whirls and eddies and ruptures, a deluge that defies the viewer to stay afloat. At this point I can only tread water, but I am certain of one thing. I have just seen a masterpiece.


Out of the film's gallery of stark black-and-white images, one that lingers with me is the nearly static portrait of a pack of wolves hunkered in the snow and glaring at the camera. All menace and glower, if they were just a little more aware, they would be running like hell from the human predators who stalk this medieval landscape. The wolves don't stand a chance in the presence of God's (or the gods') most blighted creation, opportunistic cowards who pounce on any sign of weakness, consuming everything and everyone around them before eventually feeding on themselves.


A cursory plot summary won't help much, but here goes. In the 13th century, Czech tribal bands feud with each other and with ruling German nobility. The Kozliks are perhaps the most rapacious; Mikolas and his one-armed brother Adam scour the countryside for stragglers to slaughter and pillage. The Lazar clan is more mercantile than mercenary, but no less vicious when they sense personal gain. The Lazars brutalize Mikolas, the Kozliks strike back by kidnapping the senior Lazar's beloved and virginal daughter Marketa. Along the way, the Germans get pissed off (sorry for the spoiler), blood flows, and severed limbs fly. This doesn't even begin to describe the movie.


Vlacil was adapting a widely respected novel of the same title by Czech writer Vladislav Vancura. Vancura's work is described alternately as Joycean and untranslatable, and I have now exhausted my knowledge on that subject. If Vancura's book is indeed largely impenetrable, Vlacil has done an extraordinary job of capturing that essence on screen.


“Marketa Lazarova” is a stylistic tour-de-force that feels simultaneously primitive and modern, a flurry of widescreen compositions that dazzle and disorient with their variety: zooms and rapid pans mixed in with frontally staged tableaux. The film constantly shifts scale and perspective, cutting from barren vistas to extreme close-ups of wide-eyed faces and moving from objective shots to free-ranging POVs. One of Vlacil's favorite techniques is the floating, first-person shot that stumbles over rocky terrain, glides through snow-covered pine branches, or peeks around corners in crumbling buildings. Perspective isn't always clearly indexed to a character. In one sequence, an unidentified off-screen speaker addresses a series of anxious listeners at close quarters, specimens pinned to corkboard by a merciless camera.


The film's use of sound is even more astonishing. Voices (which I assume were recorded later) have a disembodied quality, often echoing as if delivered over a P.A. in a vast, empty auditorium, lending scenes a slightly surreal quality. The score, composed by Zdenek Liska, is punctuated by choral outbursts that provide an aural match to the sudden torrents of heavenly light that periodically envelop this hellish world. Bells and other percussion instruments resonate as fools play out their petty dramas while nature continues not to give a damn about any of them.


It's a world ruled by cruelty and by the stupidity and vanity that produces such predation. Yet there are still moments when signs of life, of genuine consciousness, briefly flourish. In one scene, Lazar smiles at the sight of his angelic daughter Marketa, all innocence and potential, skipping playfully through the snow. The misery that follows immediately after is all the more devastating in contrast to the grace of this privileged moment, but the temporary respite is still something to cling to.


I have not come close to doing justice to “Marketa Lazarova.” I'm not entirely sure what happens in the movie, and I find it a challenge even to keep track of the basic relationships among the characters. Vlacil is more interested in impression than clarity, and poetry over narration. The film races from one visual match to the next, juxtaposes seemingly disparate sounds and images, and gives the viewer little time to recover from one sensory assault before launching its next salvo. It even offers unexpected moments of levity amidst the suffering: a wandering priest who really loves his “lamb of God,” and an exchange between a testy man and his unseen hecklers that consists of “Fuckers!” and “Obnoxious ass!”


But this is the best I can do after one shot at a movie that begs to be revisited, one that will no doubt both open up and further perplex on multiple viewings. For now I'm content to bask in the audiovisual rhapsody.


In 1998 “Marketa Lazarova” was voted the best Czech film of all-time in a poll of Czech and Slovak critics and filmmakers. It's easy to see why, even if it isn't easy to describe such a unique and complex film. It's been quite a while since Criterion (Eclipse collection aside) released a title I was completely unfamiliar with, and I am thrilled to have been floored by it. Unless you've seen it, you've never seen anything like it.

Special Features:
- New, restored digital film transfer
- New English subtitle translation

Disc One (7,44 Gb):
- The Film
- Trailer

Disc Two (7,27 Gb):
- New interviews with actors Magda Vášáryová, Ivan Palúch, and Vlastimil Harapes and costume designer Theodor Pištěk
- New interviews with film historian Peter Hames and journalist and film critic Antonín Liehm
- In the Web of Time, a short documentary from 1989 by cinematographer František Uldrich, in which director František Vláčil discusses his filmmaking process
- Interview with Universal Production Partners technical director Ivo Marák about the film’s restoration
- Gallery of storyboards by Vláčil

All Credits goes to Original uploader.

No More Mirrors, Please.


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