Návrat idiota
Ohjaus:
Saša GedeonKäsikirjoitus:
Saša GedeonKuvaus:
Štěpán KučeraSävellys:
Vladimír GodárNäyttelijät:
Pavel Liška, Tatiana Dyková, Aňa Geislerová, Jiří Langmajer, Jiří Macháček, Zdena Hadrbolcová, Jitka Smutná, Pavel Marek, Anna Polívková (lisää)Juonikuvaukset(1)
Though inspired by the hero of Dostoevsky's The Idiot, the plot of the second feature film by Saša Gedeon has been transferred to the recent past. The protagonist, a sincere young man named František, becomes a catalyst for interpersonal relationships involving two families. He has been recently released FROM a psychiatric hospital and is trying to return to normal life. Thanks to his innocence of the 'mature' world, he uncovers the minor hypocrisies and lies contained in the everyday dealings of his new friends and his relatives. (jakelijan virallinen teksti)
(lisää)Videot (3)
Arvostelut (2)
This is the most emotional film of the golden 1990s. Pure gold at the end of the wildest decade of Czech cinema. Perhaps for the first time, I appreciated Dostoevsky's hero, because this one, transplanted entirely into a new context, is still the same, but all the more immortal.
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In all respects, a pure soul that comes in the middle of a complex ball of human relationships and helps unravel them... an interestingly-processed and even more interesting visually-conceived theme, which is elevated especially by Liška's performance (Liška is still drawing his stylization from it to this day). Gideon made a very intimate and essentially melancholy and sad film with several funny situations, several very bad dialogues and a sensitive construction of the story. Every now and then I thought Gideon had overstepped his "intimate" and "realistic" aspects, but I was quite intrigued by Return of the Idiot. It does not go into depth in terms of the characters or the story, but even on the surface it finds a lot of interesting moments, which it offers to the viewer in an attractive visual representation. One of the more interesting films in post-revolutionary cinema...
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