Marketa Lazarová

Set in medieval times when paganism was still strong, follows the violent exploits of a small, well off clan.

Unlike most Hollywood 'history', the film does not just put modern people in ancient times, but attempts to reconstruct the society and lifestyle. Very fluid and poetic camera work.

This is not a film for everyone.

Man was a beast before the Middle Ages, but now it was one racked with guilt. Violence was the constant and would continue to be the shaper of worlds but, with the advent of this new religion preaching mercy and penitence, it was probably the first time that this violence was experienced within unprecedented, new frameworks. What had been passed through the blood for centuries in the Teutonic woods as the only means of arranging the world in some order, this instinctive violence, was now felt to be abominable.

In this sense, the religious angst of the medieval man comes from trying to conciliate that ancestral world where carving a blood eagle on the back of a fallen chieftain pleased the gods, with the new ideas of perceiving it, where sins had to be atoned for.

Here we get the tumultuous chronicle of this, the writing of the middle part of history.

We get baroque, medieval art, steeped in religious terror and ancestral guilt. Chances are there's a slew of medieval films out there, but probably not one that is as pungent, with a single exception. We encounter this cruel, pitiless hell on earth where life is meaningless and crazed gods roaming it exact terrible, ironic tolls on the human soul, ten years later in Diabel, by the hand of a certified madman this time.

Spiritually I couldn't be farther apart from this godless vision of tortured human beings, essentially Christian. But as an experience to dwell upon and inhabit, the film offers no quarter. It's a better Valhalla Rising, thirty years before.

What new frameworks here though, how best to experience the torture of the medieval man? The director finds the answer in the Czech New Wave.

The intertitle that opens this delineates what follows as a saga, an epic story of murder and intrigue. The masterstroke here lies in how this saga is told, in fragmenting it from a linear notion where time is a succession (which is the artifice of history) and presenting us with those fragments as a vivid experience of a life bled for and anguished. Which is to say, Marketa Lazarova is not the history of what transpired but the memory of it, which is then arranged into a story.

The camera then sees inside this story deeper than any bard did. And what it sees is that these passions and sufferings are not linear, therefore building up to something or anticipated to come to an end that would justify the pain, but an exponential cycle turning indifferently and without pattern.

Yet here is where the film falters. Having broken this up, the film shies away from the opportunity to look directly at what hides behind it, if anything, and insists we read this as a rhapsody where it's not impossible to consider the degenerate as cruel, flawed heroes who defied the king's rule. Bombastic music swells up in crescendos now and then to remind us that all this is horrible, but fundamentally tragic.

This may be a quibble however. It's a harrowing experience watching these men, small and insignificant at the face of violence, struggle with a pain and madness immemorial, that predates their existence. Omens of skaldic doom abound here, black crows in the bony branches of trees. Whatever they signify or not, whether the gods cackle at all this or are indifferently absent, these sights curdle the blood.

Just wanted to add a note about the apparent slightly negative comments about the visual quality of the Second Run DVD release - well, how petty can you get! This astonishing film is incredible to look at and is surely one of the most beautiful films ever made though not, it has to be said, in a conventional sense. Although some scenes feature genuinely authentic brutality, there is a strange dream-like quality to the film's look. The story itself demands total concentration throughout but, by the end, you will be fully rewarded for your efforts. A poetic masterpiece. Great work again by Second Run for making such a cinematic rarity available to view.

I appreciate overseas even to notice this film, although I keep my doubt about the translation, for even the simplified movie dialogues are high-art and historizing. The film is based on Vladislav Vancura's brilliant novel (of the same name) its language level makes it untranslatable. It apparently caused my colleagues-in-comment some misunderstandings, for sure Czech King was no German in that time(even the christianity didn't come in our land germanways), only the noble man and his kidnapped son were.

This film is especially remarkable due to successful conversion of a great book into the great film (I don't recall many other examples at this level) and due to its capture of medieval. I hate medieval films with clean, stylish and crafty interiors, clothes etc. and bright light, for medieval was DARK, HARSH and DIRTY. What's the best part, Kozlik and Lazar were not just family-chieftains or family-heads, they were NOBLE MEN (feudals) and no matter whether they looked (and acted) like prowlers or not. Neither manners nor dresses were the significance of nobles in early medieval, the sword was (which no commoner was allowed to posses), better say swords and estates were.

This film is basically about weakness and strength in men. Lazar is thief and coward, kind of vulture, but Kozlik with his sons represents the willful and harsh power and bravery that summons an admiration of a sort, for they fear only the God, what makes them better christians than the sneaky Lazar jaws-full-of-Jesus.

Marketa, the unspoiled sweet child resembles all the clear, bright and pure in this world (and the only positive aspect of Lazar's sorry life), and is spoiled as everything clean and pure in this world might be. And she's devoted, first to God, then to earthly Mikolas.

I love the metaphore with zealot and little lamb, the connection between Marketa and the God's beast is obvious. Agnus Dei is another clear and bright to be tainted and consumpted by wild Kozlik's House.

And the sound and music, that's the world if its own, there's no music but sudden choir impacts!

The film's reputation very well precedes it; in the first moment that I learned of 'Marketa Lazarová,' I also learned it's regarded as perhaps the best Czech movie ever made. I can appreciate why - I'm not familiar with the novel the movie is adapted from, but the story is exquisite. The narrative is as bleak as it is expertly crafted, and deeply engrossing. There's strong attention to detail in all things - every shot, every article of the costume design, every sight of set design, and eye-catching filming locations. The vivid imagery of a historical drama becomes ever more stark captured in black and white, including the countenances of the actors. The assembled cast is outstanding - all those most prominent before the camera, of course (Magda Vásáryová above all, embodying the all-important title role with all due gravity) but even those in supporting roles, realizing every vivid emotion and tribulation. Factor in many extras as well, and the landscape of medieval Europe seems dazzlingly real and tangible.

However - for as superb as the narrative is, and for as excellent as the picture is as a whole, I cannot say it's perfect. I have a rather difficult time engaging with the film at points, especially in the first half. The presentation of the story is disjointed: some story beats, or facets of each plot point that would round them out, are not expressed clearly, or at all. There is a substantial amount of narrative that does not play out before the camera, or dialogue that is spoken by figures who are not on-screen, and the audience is left to pick up the pieces and discern what they may. Fine as the tale is, it's extremely difficult to truly parse it without an outside synopsis to provide the context and clarification that the feature does not. For all the characters that are introduced, and given plenty of attention at varying points, the fates of some are left vague. The end result is that 'Marketa Lazarová' comes off not just as historical fiction, but an art film ruthlessly indifferent to conventional narrative flow.

To be clear, I think this is a great, grand film. The story it tells is magnificent in and of itself, and complex, even as it's terribly grim. All technical aspects are fantastic, including the direction; the cast is swell; the writing, broadly, is marvelous. Some sequences are truly exceptional - outright phenomenal - particularly nearer the end. But there are also many ponderous gaps in the plot progression, and otherwise instances of inelegant telling, that gravely stymie the absolute mastery of cinema that the feature could and should have represented save for those faults. That 'Marketa Lazarová' nonetheless succeeds in being so splendid a work despite its flaws is a testament to the skills of all involved, but the deficiencies are unfortunate all the same.

The content is oppressively dreary, and the execution as a whole has no few problems. Still, for all that: the immense quality, from start to finish, manages to well outweigh the issues of its rendering. I think this is a superlative example of what cinema can achieve that deserves far greater renown outside the Czech Republic; would only that the blemishes could have been cleared up. For many reasons this won't be a film that everyone can enjoy, but if one can look past the sometimes laborious effort that the viewing experience represents, I dare say this is essential. Though regrettably imperfect, 'Marketa Lazarová' is a captivating, striking exemplar of film that earns my most hearty recommendation, and it's very much worth watching by whatever means one is able.