4. 7. 2006
RSS backend
PDA verze
Čtěte Britské listy speciálně upravené pro vaše mobilní telefony a PDA
Celé vydání
Archiv vydání
Původní archiv


Vzkaz redakci


Britské listy

ISSN 1213-1792


Jan Čulík


Karel Dolejší


Michal Panoch, Jan Panoch

Grafický návrh:

Štěpán Kotrba

ISSN 1213-1792
deník o všem, o čem se v České republice příliš nemluví
5. 7. 2006

Trier's Reprise: A Remarkably Sensitive Film

Some are already tipping Joachim Trier's feature debut, Reprise (Norway, 2006), as a real contender for the Crystal Globe in the main competition of this year's Karlovy Vary film festival. I have not decided yet whether I agree with these people, however I certainly have a great deal of good things to say about this film.

Reprise is the story of two aspiring writers, Phillip and Erik, who both submit their manuscripts to a publishing house, resulting in the acceptance and overnight success of Phillip's novel, while Erik's is returned to him rejected. "It confirmed what I had always thought. I have no talent whatsoever." The film tells of youthful aspiration, unanticipated tragedy and what consequences this has on young people as they try to make a path for themselves through life.

The film opens with Phillip and Erik standing by a postbox, preparing to send off their literary efforts. Already the scene is tinged with the dreary greyish blue and grey shades that colour the whole film, the two boys clothed in black. The dreariness of these colours (trendy as they are at the moment) add to the film's style but also stains the action with a frustrated melancholy that reflects that of the protagonists', as they come up against failure and difficulty. In this first scene, however, the post box shines out against this backdrop in deep red, a beacon of hope. Already we see the controlled aesthetic beauty of the style, and an attention to detail with which the emotions of the characters are portrayed through visual means.

Six months after Phillip's book is published, we see Erik and Phillip's other friends pick him up from a psychiatric hospital where he has been since a mental breakdown that eventually caused him to come to blows with a glass door. The film treats the issue of madness sensitively and thoughtfully, inspiring empathy and understanding. The young Anders Danielsen Lie is excellent as Phillip, playing the troubled but gifted writer subtly and powerfully. The events are not shown chronologically, to give weight to those things that made the most crashing impact. For example, it is not until Phillip's return form hospital that we learn of the existence of his girlfriend Kari, whom he loved so intensely that it, according to the psychiatrists, triggered his mental disintegration. This side of the story is told separately from the progression of events, giving it a strength that shows just how much it affected him. Similarly, Trier makes use of flashbacks and mixes up viewpoints of situations to show them in the way that they would be remembered - allowing us to understand and associate with the characters all the more. Also, when we see conversations between Phillip and Kari, they are often shown to not be speaking, while their voices play in the soundtrack, and only occasional words are mouthed out. Such techniques portray a scene filled with emotional closeness, and show it how it might be remembered - after all the mind does not retain all details with photographic precision, but holds on more tightly to those which have some emotional importance.

However, the film is not entirely pervaded by this intense mood, which might make it too heavy. Trier still has a sense of humour, and that is what gives the film its completeness. He portrays the charming silliness of the youths with empathy - for example, their great admiration for their literary hero. They find his house, and seeing that he is walking his dog in a nearby park, take a picture where it seems like Phillip is jovially discussing some fascinating topic with his hero. The next shot cuts to their discovery that the photo is completely black. "It helps if you take off the lens cap." Trier's gentle mockery of the protagonists endears us to them, with their youthful ineptitude. I also particularly liked the use of text - when they discover that said hero will probably be present at a book launch party they are invited to, his name flashes up in white lettering that fills the screen in a news headline manner that captures their innocent joy perfectly, and also pokes slight fun at it. In general the film captures the vivacity and excitement of the characters, though still in a controlled manner. After we see them post their manuscripts, Erik narrates a black and white passage which excitedly reels off all their dreams and hopes where they jet off across the world, meeting weird and wonderful women and sparking literary debate, and eventually accidentally find each other again in a café, no, in the street, no, in the metro.. It becomes all the more tragic of course, after all of this, to see how things actually turn out. By showing not only the events of the story, but also the characters' thoughts and memories, Trier gives a full account of the emotions that the characters endure. In addition, the importance of friendships and relationships is also shown through the characters' banter and teasing and stumbles as they try to find the right way to deal with other people. Their hearts are open and we are let into them and bond with them as they are swept along by events.

In the introduction to this film, the audience was told to be kind to Trier and the rest of the delegation, as this was the international premier of this debut film - and the director had never had a feature film shown to any audience ever before. Cheers welcomed them into the hall. And I have to say, I think they are deserved. This is an extremely proficient effort for a first film, which combines sensitivity and dry humour, style and emotional understanding, excellent acting and cinematic control. It is certainly one of the strongest films in the competition this year.

Obsah vydání       4. 7. 2006
4. 7. 2006 Používání ekologických svítidel by zabránilo globálnímu oteplování
5. 7. 2006 Ochránci přírody si budou stěžovat v Bruselu na CzechTek Štěpán  Kotrba
5. 7. 2006 Bublina a Zimní cesta - dva další vynikající filmy Jan  Čulík
5. 7. 2006 Trierova Repríza: Pozoruhodně citlivý a zajímavý film Ema  Čulík
5. 7. 2006 Trier's Reprise: A Remarkably Sensitive Film Ema  Čulík
5. 7. 2006 Hrubeš a Mareš a Tideland mají hodně společného Jan  Čulík
3. 7. 2006 Ztracené město: příliš mnoho Hollywoodu Ema  Čulík
3. 7. 2006 Andy Garcia's The Lost City: Too much glitz Ema  Čulík
4. 7. 2006 Rafťáci: Zábavný, příjemný film Jan  Čulík
4. 7. 2006 ■ ■ ■ Ivan  Blatný
3. 7. 2006 Hřebejkova schematická Kráska v nesnázích Jan  Čulík
3. 7. 2006 Odpovědnost člena Rady a odpovědnost partajního sekretariátu Štěpán  Kotrba
4. 7. 2006 Němečtí lékaři lavinovitě stávkují Richard  Seemann
4. 7. 2006 Dopravní značky na ulicích pověšené... Jakub  Tayari
4. 7. 2006 Mohlo to být horší Egon T. Lánský
1. 7. 2006 Korejská umanutost a mezilidské vztahy Jan  Čulík
1. 7. 2006 Ještě žiju s věšákem, plácačkou a čepicí Jan  Čulík
2. 7. 2006 Toyen a mladí kluci Jan  Čulík
3. 7. 2006 Květen 2006: doposud nejvyšší návštěvnost stránek Britských listů
4. 7. 2006 Vojenská základna USA v ČR? Řekněte NE!
3. 7. 2006 Problém amerických základen v ČR Josef  Vít
4. 7. 2006 Pan Vít se zase nechal unést
5. 7. 2006 Špinění Josefa Víta Zdeněk  Wognar
4. 7. 2006 Moskit aneb povrchní informace nepřinášející bezpečí tak jako tak Štěpán  Kotrba
4. 7. 2006 Kapitalistická likvidace důchodců a dětí s křesťanským požehnáním Petr  Hušek
3. 7. 2006 Ekologismus je špatný, protože lže Ivan  Brezina
4. 7. 2006 Kto príde po Murínovi, ak nie potopa? Štěpán  Kotrba
4. 7. 2006 Mužom ide o život Gustáv  Murín
4. 7. 2006 Některé aspekty moderního ateistického pacifismu František  Stočes
4. 7. 2006 Gruzínská prokuratura bude řešit trestní oznámení na Sorose Stanislav  Kliment
3. 7. 2006 Je to adekvátní prezentace informace (nebo "faktu", anebo čeho)? Miloš  Dokulil
8. 7. 2005 Hus, Konstantin a Metoděj Jaroslav  Štemberk
3. 7. 2004 Konstantin a Metoděj mezi Římem a Byzancí Jiří  Ovčáček
3. 7. 2006 Amputace zdravé končetiny Bohumil  Kartous
2. 7. 2006 Světová obchodní organizace nepřekročila svůj stín Ludmila  Štěrbová
3. 7. 2006 Český sen? Sandra  Wain
3. 7. 2006 Šikana v blázinci Miroslav  Kodet
12. 6. 2006 Hospodaření OSBL za květen 2006
22. 11. 2003 Adresy redakce

Filmový festival Karlovy Vary 2006 RSS 2.0      Historie >
4. 7. 2006 Rafťáci: Zábavný, příjemný film Jan  Čulík
3. 7. 2006 Andy Garcia's The Lost City: Too much glitz Ema  Čulík
3. 7. 2006 Hřebejkova schematická Kráska v nesnázích Jan  Čulík
3. 7. 2006 Ztracené město: příliš mnoho Hollywoodu Ema  Čulík
2. 7. 2006 Toyen a mladí kluci Jan  Čulík
1. 7. 2006 Korejská umanutost a mezilidské vztahy Jan  Čulík
1. 7. 2006 Ještě žiju s věšákem, plácačkou a čepicí Jan  Čulík
1. 7. 2006 Užvaněnost a podivná čeština Jan  Čulík