Die Karamazows

It is definitely one of the most amazing films I have ever watched! It is intimate, touchy, melancholic, artistic and beautiful at the same time.

The main plot and the subplot fit very well together while we see the play and try to make sense of it through the eyes of the technician.

And the acting! Boy they are amazing! I believe they are all stage actors & actresses which adds to the power of their performance. The actors are all marvelous and their chemistry is wonderful.

I specifically liked the performance of Father Karamazov. I would love to see him on stage, he is so captivating. In fact he reminded me of Haluk Bilginer who is a really amazing actor in Turkey.

I strongly recommend that you see this film with its insights to the post-communist era, great acting and plot, and its fantastic capturing of general human condition.

This film requires multiple viewings to untangle the complexities of life imitating art imitating life. So far I've only had one. The suffering of children because of their parents links the major contemporary plot line with the novel. Most of the dialogue is from Dostoevsky, whether or not the actors are on stage. Ivan Karamazov's atheist manifesto of returning the ticket to God's offer of paradise is somehow central. There must be significance in fact that the setting is the factory at Nowa Huta, a factory built at Stalin's behest and the later stage of Walesa's "Solidarnosc." The firs t, as well as last, scene of the play-within-a-play present the courtroom scene -- legal justice in counterpoint to divine justice. The moments of comic relief strike one with a similar inappropriateness as Fyodor Karamazov's buffonade. I almost envy the viewer who is neither aware of contemporary Eastern European history nor well acquainted with the novel, for the film is fascinating on the visual and sound levels as well. A feast for the film buff, if hard on the digestion.

Is theater entertainment, or do actors in performance live on the sharp edges of blades and ride the needles that cut and sew ideas and social fabrics? Professionally and dispassionately, that is, just like other workers in public service, doing their jobs.

In this movie an intelligent Polish service worker with another career, handyman and building custodian, has the misfortune of preparing a makeshift set in a factory for a production of a "Karamazovs". The production and rehearsal is routine for the actors, but anything but routine for the Pole, for whom is that too-well-lit roadside set of hazard lights and explanations. His perfect storm.

Three times the number of American -based viewers just saw a screening of this as Euoropean IMDb raters, brought with the Director by the Czech Embassy and the Film Curator of the National Gallery of Art.

Be prepared for those serious issues of Fyodor D's: Chance, intent, patrimony and fraternity, predestination, and God. But, you're only watching a rehearsal; and the actors are loose, having done this many times before, so they won't pressure you to TAKE IT ALL SERIOUSLY. You can have a within-you / without-you experience. You're safe, but you've been threatened.

Karamazovi is newest movie from director Petr Zelenka which is by one group accepted as great screenwriter and really cosmopolitan director and by another group as poseur writing one dimensional characters with unrealistic dialogue and not much good storyteller. Karamazovi, adaptation of Dostojevskij masterpiece, and also adaptation of stage-play written by Czech director Evald Schorm, is his best piece so far.

In Zelenka's movies characters tried to get out from Czech Republic and if foreigns come to us, they're documenting us as some strangers (Japanese in Samotari/Loners). Karamazovi's plot is about concurs for a stage play at alternative festival in Poland and actors plays themselves, one of them trying to get out of Poland because he has got some filming in Czech Republic! Point of view has changed, but great atmosphere (thanks to composer A.P. Kaczmarek and cinematographer) with great actors (especially those who plays in Czech TV shitty-serials).

Zelenka in one interview said that he won't to shot movie like Trier his Dogville/Manderly and that he doesn't like his movies, especially last ones. But Karamazovi is sort of "Five Obstruction" auteur-destruction: Ivan Trojan gives another character DVD Loners (Loners was written by Zelenka and Trojan plays there, he plays even in last Zečlenka's movies Pribehy obycejneho silenstvi and now in Karamazovi) and one of character is epileptic same as Zelenka's wife so it's kind of in-joke.

Main thesis of this movie is that without an audience there is no art. Yeah, Zelenka'not really good storyteller and don't know what to do whit female characters... but Karamazovi is second best Czech movie for long years (after Vnewest movie by director Bohdan Slama Venkovsky ucitel, sadly not at IMDb). If you're thinking that Czech cinematography after 1898 is good, so... You're wrong because by year there's probably 20 or more movies and just three are watchable! And Karamazovi is that sort of movie that isn't good just for Czech audience (yeah, not another tragic comedy by Hrebejk!), but it's great for everybody. Because everyboy's are Karamazovi.

The Karamazovs is a film that has left quite an impression on me, all the more so that I didn't expect it to.

At the beginning, a group of actors leave Prague for Krakow, Poland, where they should take part in an alternative Dostoyevsky festival in a steel mill. They arrive there, and in order to get used to the place they - at one go - rehearse the play they are to perform the following day - The Brothers Karamazov, a theatre adaptation of the novel. In order to be able to follow and enjoy the play, you don't need to be familiar with the novel. The adaptation is well structured and only focused on a few themes, so there's no danger you could get lost in it. Now, I'm sure that most of you, like me, have never seen a better rendering of a play-within-a-movie than this. All the actors are good, all the five male leads are fantastic. Thanks to them and also thanks to the beautiful cinematography and music, I physically realized where the adjective "breathtaking" took its origin from.

Next to the play itself, which occupies some 70% of the film, we watch what happens offstage, both to the actors and, significantly, to one of the onlooking Polish workers, who - in spite of a personal tragedy of his - is unable to take his eyes off the play. The actors' stepping in and out of their roles, it seems to me, adds a lot to the impact of their performance. On a more general level, the occasional breaking of the play's illusion, the being kicked out of the world of Dostoyevsky's heroes to the "real" one, makes you realise the two worlds, the tow realities, mirror each other in many ways; they - as it were - make comments on one another. The nature of these comments does not allow an unambiguous interpretation, and you'll certainly hear something different from what I heard. But that's all right. After all, this film is a work of art.