Movies 211-220 · Edition 010

Ten more movies:

2004 – Bad Education · Pedro Almodóvar [ESP]
2000 – The Beach · Danny Boyle [USA]
1988 – Die Hard · John McTiernan [USA]
1980 – Brubaker · Stuart Rosenberg [USA]
1977 – The American Friend · Wim Wenders [DEU/FRN]
1972 – The Godfather · Francis Ford Coppola [USA]
1964 – The Diary of a Chambermaid · Luis Buñuel [FRN]
1958 – The Deadly Invention · Karel Zeman [CSK]*
1939 – Ninotchka · Ernst Lubitsch [USA]
1921 – The General · Clyde Bruckman, Buster Keaton [USA]

*Among them we choose our favorite movie:
The Deadly Invention

Deadly Invention · Karel Zeman

We stay with the British title, because the original title „Vynález zkázy“ is translated very inadequately by the US Title „The Fabulous World of Jules Verne“. Karel Zeman has no need to rely on a big name with his own work. Of course, mentioning Jules Verne is not out of place, because the film is based on a wide variety of novels by the writer. But mostly on the book, which was titled „Facing the Flag“ in 1896, and has been published as “The Deadly Invention” as well.

It is a very personal choice to separate this film from the canon of some very famous movies in film history. Suddenly the visions of a Jules Vernes future virtually came alive to the amazement of a young person. These figurative overwhelming experiences have become so deeply embedded in my visual coding that there was no doubt. This film with its optical tricks could suddenly make fully alive the opulent engravings of previously read books. Of course you would have to film historically mortifying a little and adjusting mentally to the time cinematically possible, but the effect of the wonderfully created compositions dating from a 19th century`s vision of the future is timeless. Not to mention the additional liquid distortions of the scenery, which is placed partly under water.

We choose the film because of the revolutionary technical skill to merge the hatching of engravings with spatial depth and the acting creatures, whose presence appears as a matter of course. Karel Zeman’s immersive work must have had a comparable effect on the viewer confidently with the aesthetic force of „Sin City“ in 2005.

I’ve read with enthusiasm, that there now is a Bluray edition available with a restored version of the Czech release.