Horem pádem

"Horem pádem", stood up well to a second viewing, from DVD, a year later. I'd agree with the most favorable comments of others here. I'd add that the treatment of immigration, nativity, nationalism and personal identify, as it intersects with 4 fractured families, is witty, tender, and humane. Even some of the native criminal class gets an opportunity to make claims for justice, even if the latter is satirized.

Did anyone mention the exceptional use of music, and how imaginatively the film is lit and shot? A team of artists at the top of its game collaborated on this film.

Drama with surprisingly funny moments. This movie pretty accurately describes various layers of contemporary Czech society. From lowlifes to intellectuals, from immigrants to emigrants. Acting on the whole is very good and adds further realism to the well written characters. Director's Hrebejk's specialty after all are human interactions. Plot is a complicated one and involves racism, emotional exhaustion and solitude, fear, greed and hope. There are many life-like stories in this movie which unexpectedly intertwine as it happens in real life society. Quality camera work was done by senior Czech cinematographer Jan Malir. Moral of the film: No decision in life is made and nothing happens without affecting sooner or later somebody else. Crucial question - can it be understood by a non Czech audience? Perhaps, but I would recommend second viewing, then it will offer more than just entertainment.

This is an excellent movie with engrossing and intricate subplots. I wanted to find a movie that fit well with my cultural focus, and this movie does a great job highlighting the complexities surrounding Czech identity post-Communism, and how it sometimes clashes with immigration and globalization. All of the subplots fit together at the end and it will surprise you. Loved the humanness of it all.

This was probably the best film shown at the Vancouver International Film Festival, from a filmmaker I greatly admire. A complex, utterly compelling, completely accurate snapshot of contemporary Czech society, it has several story lines that converge at different points. The social fabric of a country dealing with rapid and enormous political, social,and economic change is stretched to tearing point as borne out by a sleazy pair of people smugglers and the various low-life petty criminals with whom they work; a university professor, his embittered wife and estranged adult son, and his long-term decades-younger mistress, who was the son's girlfriend at one time; a not-too-bright security guard—-a man who channels all his pent-up rage and frustration into brawls at soccer matches—-and his wife who has become mentally unhinged by her craving for a baby. Hrebejk has the stories intersect in an unforced manner, and examines the scourges of a society in the throes of rampant change: unemployment, corruption, crime, racism, unwanted immigrants, old-timers unwilling to come to terms with the new order, and the increasing divide between the rich and the poor. His bemused eye watches unflinchingly when some of his educated characters spew racist bile, or when the inarticulate white supremacist security guard is gentleness personified while caring for the brown baby that his barren wife buys with their life savings. Displaying his usual fine understanding of human nature, he demonstrates that no person is all good or all evil; even his most despicable characters perform uncharacteristic kind acts. With some laugh-out-loud scenes of sophisticated black humor on offer, this is social satire of the highest order.

"Up and Down" presents a portrait of a country in transition. Director Jan Hrebejk is commenting on what he is seeing around him in the Czech Republic. After years of Soviet domination, the country has turned into a democracy where the old norms and the new reality clash with one another to produce an uncertain time in the country.

There are basically three stories going on in the film. There is the Horecky family, who is in crisis. Then there is the young couple, unable to have children, and finally, we have the petty criminals intent in getting into all sorts of crime to further their interests.

In a way, the film is a microcosm of a society that is adapting itself to the present reality of a free economy. Unfortunately, things appear to be chaotic as we take a look at the film. The old ideas and the new ones are in direct opposition. The older generation doesn't like what their country is being turned into. They watch in horror how all kinds of foreigners are invading their land, which seem to be a global problem, as illegal aliens want a piece of the capitalist pie.

In a way, Martin, the returning son of Professor Horecky, sees a changed society, but wants no part of what he encounters. Having lived in Australia for over twenty years, he has a different attitude and will not stay to participate in what will happen. At the same time, his coming back opens many wounds he thought were healed by now.

For Frantisch and Miluska, their reality is different. She wants to have children and he can't give them to her. She will do anything in order to get a baby. Miluska even resorts to buy the infant that some smugglers find in their truck. Even in this new society, xenophobia is present in the form of the captain of the football fan club that discovers that the baby is not white.

One has to commend the director for presenting his ideas in such an interesting way. The cast is excellent under Mr. Hrebejk's direction. The only sour note to the total enjoyment of the film is that the print recently shown locally, has a yellowish tint and the subtitles are, for the most part, unreadable, which is a shame. Mr. Hrebejk next offering will be eagerly anticipated.