Svejk v civilu

This is not exactly a film version of Jaroslav Hašek Dobrý voják Švejk although it is obviously inspired by it. The film version of the novel itself had appeared he previous year directed by Karel Lamač with Karl Noll in the title-role. There were two further sequels based on the continuation of Hašek's unfinished masterpiece, written almost immediately after his death in 1923 by humorist Karel Vaněk, Osudy dobrého vojáka Švejka v ruském zajetí (Švejk on the Russian Front). These two films, again directed by Lamač with Karl Noll were called Švejk na frontě and Švejk v ruském zajetí.

This third instalment appeared in 1927. Unlike the previous sequels this was a Czech-Austrian co-production and a version in German was released in 1928. Given the year's difference it was probably reshot with different actors in the minor roles, a common practice with co-productions at this time. Unlike the others, this also appears to be an original scenario although it is quite possible that Karel Vaněk was also involved and it does not have a wartime setting. Švejk has supposedly returned to his civilian activities as a dog-catcher/dog-seller, his profession before the war.

It is an elegant and sophisticated comedy but Noll's Švejk is no longer at the centre of things as the civil life does not quite suit his peculiar genius in the way that the absurdities of war and the Austro-Hungarian military machine do. So my preference is still for the 1926 Lamač film which survives although in IMDb it has got confused with a 1931 sound remake by Martin Frič. Noll's performance here is excellent and it is altogether a very commendable version) of the original Hašek novel even if it lacks something of the splendour of the later classic 1956 version.

The Frič seems to have sunk without trace and evidently did not enjoy the success of its silent predecessor. As I have pointed out on ther occasions, sound remakes of silent films, contrary to people's preconceptions, are rarely as good as the silent versions unless or until, as in the case of the 1956 remake, they start from scratch once more and make an entirely new film.

Comedy is not really Machaty's forte and this film is not nearly as good as his superb version of The Kreutzer Sonata produced in the same year which gives him better scope for his particularly sensuous style or as the later films, Erotikon and Extasie (with Hedy Kiesler (the future Hedy Lamarr), which brought him such notoriety.