Word: britko
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Dates: during 1965-1965
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Half of the audience in Philharmonic Hall gave The Shop on High Street a deserved five-minute standing ovation; the other half remained seated, paralyzed by the film's impact. Director Jan Kadar uses his camera as the eyes of Tono Britko to place the viewer inside the mind of the simple farmer who the Nazis make the "Aryan Manager" of a Jewish button shop in Czechoslovakia...
...When Britko drinks, Kadar places a rum glass before the lens; when Britko wakes up, the camera moves slowly along the ceiling and wall and finally up his legs, coming into focus with exquisite timing. Soon the audience becomes vicarious inhabitants of Britko's village. We walk down the main street behind Briko as he tips his hat to friends; we stop to hear an old fiddler play a bitter-sweet tune; we cringe when a Nazi dragoon marches...
...plot concerns Britko's response when the old Jewish lady who owns the shop must be hidden to avoid deportation. Before the troops and trucks arrive, the film trips along as a charming piece of village comedy in which the audience easily becomes involved. When Kadar shifts unexpectedly to tragedy, the audience gets swept helplessly along...
...enter Britko's fantasies as he pictures a dream world of dazzling sunshine (shot by superimposing the characters on an overexposed setting) where he and old Mrs. Lautmann can stroll elegantly along the shadows and sunrays, listening to the town band. But the blare of the Nazi band returns him to reality. The audience undergoes a similar fantasy sequence at the end of the film, which is broken finally by the lights of the movie theater as the film ends...