L'oreille

Most impressive feature, made at the end of the 60s, with Russian troops already on the streets, and not released until 1990. Shot in stark b/w, very much with the look we came to expect of the Czech New Wave of the 1960s but lacking that romantic twinkle. Here we are plunged in to the tale of a couple, she drunk, he concerned and trying to get back into their house after a lavish State function. We cut back and forth between the childlike but ominous activities at the official do and the struggle without lights or door keys at home. Much of the action between the husband and wife is shot in close-up and the discord and insult exchange is reminiscent of Whose Afraid of Virginia Woolf? But things get worse as the real paranoia of who might be listening in to their conversations becomes more worrying. The omnipresent 'Ear' probes a considerable level of paranoia and we too become involved in a terrifying scenario which may or may not imaginary. Stunning ending, both happy and very sad.

It is very confusing! This movie was finished in 1970. To put 1990 it is so confusing. I thought it was another movie when looking for it just because of that date.

i saw this at a university art screening years ago and this is one of those rare glimpses into what one can only wonder as being one of many practically lost gems as i have never seen it available on video or screened ever again, yet this is a truly classic film. i sadly don't remember much of the plot, but this film is about the very real fear that the main character's home is bugged by state police (the ear in question). the black and white cinematography is great, but this film is all about tension. it deserves to be seen.

"The ear" is a late production of the Czech new wave movement. It is politically more explicit that earlier films of this movement such as "Closely watched trains" (1966, Jiri Menzel) or "The Firemen's ball" (1967, Milos Forman).

It was made in 1970, that is after the invasion of the Warsaw pact in 1968. The film was prohibited by the communist censorship and only released in 1990.

"The ear" is situated in a hectic time for the Czech communist party. A couple of promiment members have been purged away. The main character is still on his job, but suspects that he is being eavesdropped.

A comparison with "Das leben der anderen" (2006, Florian Henckel von Donnersmarck) is obviious, but there are differences too.

In "Das leben der anderen" the eavesdropping is certain, in "The ear" it is only a suspicion of the main character.

In "Das leben der anderen" the victim is a citizen outside the communist party. In "The ear" members of the communist party are fighting each other.

In "Das leben der anderen" the victim and the perpetrator are both being portrayed. "The ear" focusses exclusively on the victim (because it is not sure that there is a perpetrator). There is lot of attention for the effect on the married life of the victim. In this way the film also has a twist of "Who is afraid of Virginia Woolf" (1966, Mike Nichols) in it.

The acute paranoia of daily life behind the Iron Curtain haunts a petty bureaucrat after he overhears an indiscreet remark at a party and becomes convinced his house is under government surveillance. Not surprisingly, the film spent over two decades in official limbo for daring to paint an unflattering portrait of Big Brother, showing the unseen influence of the State in a society where privilege is bought at the cost of privacy. The story begins where Francis Ford Coppola's 'The Conversation' left off, with the anxious civil servant and his equally suspicious wife trapped in a claustrophobic, dark comic nightmare of hidden microphones, tapped telephones, and invisible prying eyes, all the time wondering why the axe of political expedience is aimed at their innocent necks. The scenario would be absurd if it weren't so unsettling, and succeeds as both a disturbing parable of totalitarian oppression and a perversely entertaining black comedy.