"What if someone had an absurd dream and the visions ran out in the street?" a scientist asks Rose, a researcher who discovers a way to engender beneficial dreams (to produce contented, ... See full summary »
The film is based on the book of the same title (A Sanguinary Novel) by the very individual Czech painter, typographer, author and philosopher Josef Vachal, who squeezed adventure, love, ... See full summary »
In 1897, in a castle near the town of Werewolfville in the Carpathians, a slightly deranged Professor Orfanik experiments with his new inventions which include, even at this early date, television and a film camera.
One of the most important images of the Czech New Wave 60s, which was ranked among the top ten domestic films of all time. Feature debut screenwriter and director Ivan Passer is currently ... See full summary »
Straight shooting Lemonade Joe cleans up Stetson City, in this musical parody of early Westerns, after shooting the pants off villain Old Pistol. Joe's endorsement of Kolaloka (Crazy Cola) ... See full summary »
A historic mega-film, one family saga, three generations (1887 -1917) assimilated to the bee community in the hive. The queen bee serves as a big mother that symbolizes the family and ... See full summary »
Seven seemingly unconnected fairy tales - glued together only by folklore, mood, color and light - make up this Czech collection of visual poetry. The original piece of literature, written ... See full summary »
Miraculous Virgin is about the imagination, the escape it brings while it lives and the death it brings once it is physically manifested. Near the beginning of the film, Tristan, the painter, asks how he can portray emptiness. Uher answers his question by showing that the entity of emptiness can only be depicted through the acts of filling and emptying. We see a great vault of a room suddenly empty of people as bomb sirens sound and then refill as police enter to remove Tristan. We see a ladder descend to fill the space of a cellar. But most important of all, Uher spins a story of a mysterious girl, Anabella, filling the empty minds of the city's male inhabitants.
I think you have to consider the possibility that Anabella may just be the figment of the imagination, albeit a sort of collective imagination. The psychoanalyst calls her his libido, and for the other characters too, she represents a great internalized and creative force. Her relationship with Raven, the sculptor, is perhaps the most revealing. Raven creates plaster masks from the faces of dead women. He wants to create a mask of Anabella, but she has to be dead first. She may not literally die, but when her mask is made, it seems to signal the death of the imaginative essence that she represents. Once the imagination is manifested and shared, it loses its purity, its virginity. In sharing his imagination, the artist has sullied it in pandering to the desires of an audience. In an earlier scene, we see Anabella and the poet in his room. They imagine his mother approving her as his bride. It is fanciful and pure. Later, we see him caressing the mask. The scene is dirty and obscene. His mother actually is there, and she doesn't approve. Anabella's no longer a virgin. He calls her a slut and destroys the mask. As a lion, Raven speaks as to how he doesn't want to devour Anabella, but the opposite. Yet in projecting her he allows others to do the devouring.
And if the imagination reveals emptiness, what does it say about the time and place? The film could be read as one of many works that deal with the struggle against censorship and the desire to express something purely without compromising its value to the artist. Raven is commissioned to create a sculptor of a politician. He wishes to honor the land and people that he loves. But his commissioners don't envision the sculpture as he does. They only see art as a means of furthering their own power. Beware of the holy whore.
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