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...literary journal Literarni Listy became the most avidly read paper in the country and its contributors, the spokesmen for popular aspirations (an understandable situation in a country where no legal means of opposition were available, writers and journalists had access to the media recently freed from censorship). The philosopher Ivan Svitak was calling for workers' councils while Martin Vaculik, the author of The Axe (Harper and Row), published his famous 2000-word manifesto, a political program for the whole country, which was greatly to anger Mr. Brezhnev...

Author: By Jacques D. Rupnik, | Title: The Politics of Culture in Czechoslovakia | 5/20/1975 | See Source »

Milos Forman (Loves of a Blonde, 1965) and Ivan Passer (Intimate Lighting, 1965) rejected any theoretical approach to reality. Theirs is one of close, almost microscopic observation; they find "in that microcosm of human action a portrait of the social reality as a whole" This accounts for the political dimension of a film with an apparently nonpolitical subject, such as Firemen's Ball, 1968. Others, like Jaromil Jires (The Joke, 1968) preferred social analysis and political generalizations, while Chytilova's Dazies or Nemec's Report on the Party and the Guests are philosophical tales in the Voltairian sense...

Author: By Jacques D. Rupnik, | Title: The Politics of Culture in Czechoslovakia | 5/20/1975 | See Source »

...ordinary people, a subtle sense of humor combined sometimes with social satire. This required a deep and almost subconscious knowledge of a place and people and feelings. These qualities are impossible to transport to a new reality. In other words, it is impossible to make "Czech" movies in America. Ivan Passer's recent Law and Disorder just doesn't work when it tries to be a "Czech film" about ordinary Brooklyn shopkeepers and cab drivers, because Passer is not "equipped" by his experience to do this kind of film. This problem is not confined to Czech directors. Antonioni's Zabriskie...

Author: By Jacques D. Rupnik, | Title: The Politics of Culture in Czechoslovakia | 5/20/1975 | See Source »

Like Sergei Eisenstein's film classic-the score is based largely on Prokofiev's music for that movie-the ballet is an episodic, ponderously romanticized narrative about Czar Ivan IV. A madman and a tyrant, Ivan fought the feudal boyar nobles as well as invading enemies and managed to unite Russia during the 16th century. There are scenes evoking his struggle with the nobles, lyrical moments of happiness with his first wife, Anastasia, plotting by the boyars and the duplicitous Prince Kurbsky, who tries to destroy Ivan by poisoning his queen. After her death, the Czar...

Author: /time Magazine | Title: Music: Ivan Is Terrible | 5/12/1975 | See Source »

...Anastasia, Natalia Bessmertnova-one of the most lyrical ballerinas in the world-has little to do but flutter her graceful arms and look demure. The only multidimensional character is Ivan, a role danced at the premiere by Yuri Vladimirov. An extraordinarily lithe actor with a frazzled mane and long simian arms, Vladimirov in his mad scenes looked oddly like a bemused orangutan who had suddenly been set loose from a zoo. That effect was heightened in the ballet's unintentionally ludicrous climax, when the paranoid Czar, hopelessly entangled among bell ropes, dangles above a crowd of foot-stomping peasants...

Author: /time Magazine | Title: Music: Ivan Is Terrible | 5/12/1975 | See Source »

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