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Kawasaki's Rose (2009)
"Kawasakiho ruze" (original title)

 -  Drama  -  24 November 2010 (USA)
7.0
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Ratings: 7.0/10 from 521 users   Metascore: 67/100
Reviews: 3 user | 43 critic | 6 from Metacritic.com

Renowned psychiatrist Pavel Josek is singled out to receive a "Memory of the Nation" medal, however, it transpires that this reputedly morally irreproachable dissident once collaborated ... See full summary »

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Title: Kawasaki's Rose (2009)

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Cast

Cast overview, first billed only:
Lenka Vlasáková ...
Lucie
Milan Mikulcík ...
Ludek
Martin Huba ...
Pavel
Daniela Kolárová ...
Jana
Antonin Kratochvil ...
Borek (as Antonín Kratochvíl)
Anna Simonová ...
Bára
Petra Hrebícková ...
Radka
Martin Schulz ...
Martin
Ladislav Chudík ...
Kafka
Ladislav Smocek ...
Doktor Pesek
Isao Onoda ...
Kawasaki
Vladimír Kulhavý ...
Chief Physician
Josef Parenica ...
Doktor Sima
Jan Urban ...
Recnik
Zuzana Savrdova ...
Kafkova
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Storyline

Renowned psychiatrist Pavel Josek is singled out to receive a "Memory of the Nation" medal, however, it transpires that this reputedly morally irreproachable dissident once collaborated with state security agencies, informing on a former friend of his wife, Borek, and ultimately being responsible for the latter's forced emigration. Josek's family and close friends try to come to terms with these new facts. Written by Karlovy Vary International Film Festival

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

24 November 2010 (USA)  »

Also Known As:

Kawasaki Rose  »

Filming Locations:


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Technical Specs

Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

According to director Jan Hrebejk, originally he planned to cast famous directors Jirí Menzel and Jirí Krejcík as psychiatrist Pavel Josek and retired interrogator Kafka, respectively. See more »

Connections

Referenced in Vsechnopárty: Episode dated 24 November 2009 (2009) See more »

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User Reviews

 
Compelling dilemma's, not sure how I would act myself
20 October 2010 | by (Amersfoort, The Netherlands) – See all my reviews

I had this film on my "must see" list for the Ghent Film Festival 2010. I have always asked myself how I should act in situations like those described in the announcement. Being all alone, isolated from everyone, in the hands of the secret police, not knowing how long this will last, and with serious doubts whether they will let you go when they (eventually) got what they want. Of course, there are always people on their moral high horse, who will say that they never.... But I can't be sure for myself.

In the course of the story, some examples other than physical torture were mentioned to impose pressure on people, e.g. when the secret police promises to arrange some hard-to-get medicine for a sick relative. Such immoral bargains move the focus of the current situation away from yourself (how much and how long can I endure this) to a new level beyond yourself: maybe the damage from my confession is not so bad after all, in comparison the benefits that someone else could have from this.

There is a sub-plot within the film about a triangular relationship (1 man, 2 women) that existed in secret for one and a half year. Suddenly, the man decides it is time to throw it all in the open. He really thinks that everyone will benefit from the newly created situation. Of course, it works out differently from what he expected. Though I can only outguess the intentions of the film makers, I think this second story line is created to make the movie acceptable for those that are not so interested in moral issues. Such viewers may be moved instead by real world dilemma's they can imagine as "real" (experience in their own life). In other words, this sub-plot does not add to the story in general, but it may well suit its purpose in catching and holding the attention of the average viewer, hence a good thing from a compositional (or commercial?) point of view.

Initially I found it a nice touch to include the score of the "betrayal" aria from Handel's opera Ariodante. The same score re-surfaced several times throughout the film. Eventually, while the credits were shown, it was played again, now including a considerable part of the whole aria (voice part replaced by a oboe). At that time, when hearing the same notes for the 5th or 6th time, it was not so nice anymore. I think there is other suitable (betrayal) repertoire, even when only considering opera's from Handel. Most probably this is just me, and it does not hinder me from valuing this film with high marks.

All in all, this movie covered the subject very well, and more than satisfied my expectations as derived from the text in the announcement. I wonder how it would be experienced by someone who did not read the synopsis beforehand. From the beginning of the film it is not made clear where the planned interviews are heading, and how the other persons are related to the underlying subject. IT MIGHT have been better to have part of the speeches that we see at the end of the movie, or at least some newspaper headlines about it, to be included in the beginning. This is not a complaint, just a hint.


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