Marketa Lazarova (The Criterion Collection) [Blu-ray]

Like many other viewers, I developed a desire to see _Marketa Lazarová_ (1967) when I learned that this Czech movie is often compared to Andrei Tarkovsky’s monumental _Andrei Rublev_ (1966). The similarities are obvious. Both films are epic and poetic. They are set in a Slavic territory during the middle ages, and they depict the clash between paganism and Christianity. Both films are quite long and slow-paced, not just by Hollywood standards, but by any standards. Given these correspondences, because I love _Andrei Rublev_ I almost decided that I loved _Marketa Lazarová_ even before I watched it. As my four-star rating indicates, I enjoyed the film, but I must say that I found it to be a bit “difficult.” I later found out that this is a rather common reaction to this film.In preparation for my viewing of _Marketa Lazarová_, I read Vladislav Vančura’s novel of the same title, the film’s source, which was published in 1931. The novel failed to grab my attention, and I was confused by the numerous secondary characters. I was also reading within the wrong context. Because this is a historical novel, I assumed it would be somewhat traditional in structure. I had no idea I was reading an avant-garde novel. Instead of a plot, there is a series of episodes that compose a personal vision of medieval life and psychology. While I did not enjoy the novel, I told myself that perhaps the whole story would make more sense in visual form._Marketa Lazarová_ demands more than one viewing. This does not mean that one cannot appreciate the film after watching it for the first time. It does not mean that the story itself is complicated, either. Basically, the film revolves around Marketa, a girl promised to God who is abducted by a pagan clan and raped. Surrounding this central event are fights and brief tangential stories. What makes the film difficult is that it appropriately adopts a chaotic form in order to depict a chaotic world. To give an example, we often hear the voices of characters that are off-camera, so that it becomes difficult to tell who is speaking. Other scenes may be real or imagined by a given character. Though not to the point of incoherence, _Marketa Lazarová_ cultivates the enigma. A first viewing may allow you to appreciate the poetry of the film; for clarification in the area of narrative, a second viewing may be needed. The film plays like a long, visually arresting dream sequence. For best results, the viewer should abandon himself/herself to this dream._Andrei Rublev_ might also be described as “poetic, oneiric, and haunting,” but for all its excess, Tarkovsky’s film is more direct, less elliptical in its storytelling, more accessible. Vláčil is associated with the Czech New Wave, and in this case he was adapting a subtly experimental novel. To be sure, _Marketa Lazarová_ is miles away from _Daisies_ (Věra Chytilová, 1966) or _Valerie and Her Week of Wonders_ (Jaromil Jireš, 1970), but the groundbreaking experimentation is present, for instance, in the use of music and in the camera work. The camera seems to have a life of its own in _Marketa Lazarová_, and it moves in a way that makes the viewer feel as if he/she were operating it.The extra features included are:* In the Web of Time (1989): a short documentary on Vláčil in which he discusses his ars poetica. For the most part, however, the viewer will see scenes from other Vláčil films, which is useful for those who want to explore other titles by the filmmaker. I was intrigued by _The White Dove_ (1960) and especially by _Valley of the Bees_ (1968).* Interview with actors Magda Vášáryová, Ivan Palúch, and Vlastimil Harapes: they played Marketa, One-handed Adam, and Christian, respectively. This may be the most valuable extra feature, as the actors recall details from the filmmaking process and the interaction between those involved.* Interviews with film historian Peter Hames and journalist Antonín Liehm: together, these interviews constitute a brilliant introduction to the film. Hames addresses the aspects of _Marketa Lazarová_ that make it a unique, and often difficult, film. Liehm provides further context, and they both address the source novel, which has been described as virtually impossible to translate faithfully.* Interview with costume designer Theodor Pištěk: I found this to be a compelling interview, even though I am not particularly interested in costumes. Pištěk talks about his work with Vláčil and provides details about the meticulous work involved in _Marketa Lazarová_. He mentions, for instance, the importance of not neglecting the clothes of characters in the background, and of using authentic materials (for instance, actual animal hides).* Interview with Ivo Marák about the film’s restoration: an astonishing look at the restoration process, this interview includes demonstrations of how impurities present in the original negatives were repaired, frame by frame.* Gallery of storyboards* Essays by Tom Gunning (on the film’s style and the director’s context) and Alex Zucker (who translated Vančura’s novel), and a 1969 interview with Vláčil conducted by Liehm. In the interview, Vláčil describes himself as standing alone. He did not graduate from film school. He doesn’t go to the movies often, he says, and his three loves are Buñuel, Bergman, and Bresson. Not surprisingly, these three were among Tarkovsky’s favorite filmmakers too._Marketa Lazarová_ is a lasting cinematic experience. To me it was at first simply “the film that is compared to _Andrei Rublev_,” but as I watched it I realized how reductive and unfair my approach was. My advice: watch it, by all means. Don’t look for anything in particular; accept what the film gives you. You will most likely find something in it you will like, and much that will haunt you. And if you like it as a whole, you will want to watch it again.Next on my watchlist: _The Saragossa Manuscript_ (Wojciech Has, 1965).Thanks for reading, and enjoy the film!

...watching movies set in the Middle Ages. This is one of the more highly-regarded. Arrived on time and exactly as described. Thanks!

Epic, haunting Czech film based on the infamously untranslatable 1930's historical fiction. Wild, brutal, yet poetic and even sardonic. The story of the ongoing conflict between neighboring families of noblemen of varying degrees of civility -the vicious, wolf-like pagan raider (complete with facial scars and extremely cool leather helmet) and his sons, the Christian scavenger and his beautiful, innocent daughter, and the chain mail clad Germanic knights aligned with the king makes for incredible cinema- even referred to as the greatest Czech film by many. Told with fractured narrative, unusual in it's approach showing Christianity and the pagan worlds objectively, with chapters described in title cards somewhat like a silent era film or book from the middle ages. Filmed in highly stylized B/W photography of the fantastic surreal ambiance of melting snow and gushing inky blood, wolf and stag populated woods and dove filled convents, and the spirituality of both pagan blood sacrifice and Christian ritual. This strange, cerebral, almost otherworldly atmosphere of dreamy nature and full-blooded action is made even more pronounced by the brilliant score reminiscent of Carl Orf's Carmina Burana, or works by Arvo Part. Those familiar with Eisenstein's Alexander Nevsky, Tarkovsky's Andrei Roublev and especially Bergman's films The Seventh Seal and The Virgin Spring will be thrilled by this unique masterpiece. Perfect for anyone interested in the Czech new wave, or those who wonder what would Game Of Thrones or Conan The Barbarian be like if it was 1960's Slavic arthouse cinema. Criterion's Blu Ray includes several interviews, is beautifully restored (one short documentary chronicles the process) and comes with a thick booklet of essays. A most highly recommended sleeper classic.

I hadn't heard of this movie or indeed its director until I read about the parallels between this film and 'Andrei Rublev' by Tarkovsky, a film maker I adore. It's hard to get to the level of Tarkovsky for anybody, but I think this film holds its ground very well compared to the vastly more famous 'Rublev'.The story seems fairly simple: in the Middle Ages the well-to-do Lazar tries to get his cherished daughter into the safety of a monastery but fails as the price is too steep. Lazar also has to deal with a rather wild and unruly clan living nearby whose members routinely rob travellers. On one of those raids Mikolas, son of clan head Kozlik, spares the life of two travellers, one of which is the son of an important clergyman. Kozlik knows this will bring trouble and adding to his vexation his daughter falls in love with the young man.Mikolas, on a mission to Lazar, gets beaten up by Lazar's men and Kozlik in a rage orders a raid on Lazar's farm. His men wreak havoc and Mikolas abducts and rapes Lazar's daughter Marketa, with a surprising twist: they genuinely fall in love with each other.When an army arrives Kozlik tries to hold them off but gets captured. Mikolas tries bravely but foolishly to rescue his father from prison and impending death but fails. Marketa, for her love for Mikolas rejected by her father, is wedded by the army commander to her lover as he lies dying.As in Tarkovsky's films I found a lot of poetry in this rather grim and violent tale. And as with 'Rublev' I found the way the distant past was portrayed totally convincing. A rich and rewarding film with gorgeous cinematography and quite perfect except for the echoey sound of the voices. Another splendid release by Criterion.

特報！ チェコ映画史上最高額の予算を投じて制作され、一部のマニアと識者から「チェコ・ヌーベルヴァーグの最高傑作」と呼ばれながらも、特集上映以外では日本で正式公開されていなかった幻の荒ぶる大傑作『マルケータ・ラザロヴァー』('67)が、制作から55年の時を経て、ようやく日本での大々的な上映が決定した。2022年夏、シアター・イメージフォーラム他にて全国順次公開！！これを記念して、クライテリオン版のBDソフトにレビューを掲載したい。本作の公開を機に、クリエイター諸氏にはジャパニーズ・ファンタジーの幼稚園児のお遊戯レベルの稚拙な表現を恥じ、もっと高度なアート作品へと昇華させるカンフル剤としてほしい。中二病よさらば！ 本能を滾らせよ！ ボーイズ＆ガールズ、ビー・ファナティック！！13世紀中葉が舞台の作品で、登場人物が多く、複雑な構成になっているので一度観ただけで即・理解はしづらいが、大雑把に説明すると、非･キリスト教の盗賊騎士団とキリスト教徒の王族との争い、異教とキリスト教のせめぎ合いと、それに翻弄される人々を、ヒロインのマルケータを中心に描いた物語だ。ただ本作は、よくある歴史ものの悲劇メロドラマのような判りやすいセンチメンタルな作りではなく、文学的・哲学的な主題の探求というよりは、現代社会が遥か昔に置き去りにして忘れていた、人間の蛮性や感情の迸りを、本能の命じるままにスクリーンに塗りたくった・・・そういう類の映画だ。ひとことで云うと「オレ好みの映画」だという事だ(笑)。監督のフランチシェク・ヴラーチルは、チェコ・ヌーベルヴァーグの嚆矢とされる『鳩』('60)を撮った監督。ブルノ大学を出て教育映画や陸軍映画などでキャリアを築いた人で、チェコ・ヌーベルヴァーグの中核を担った、FAMU(プラハ芸術アカデミー 映画・テレビ学部)やDAMU(同・演劇学部)出身の監督たちとはちょっと違った経歴の持ち主である。本作一本を観ただけで、芸術性の探求に対する拘りは尋常でない人物だというのが判る(笑)。監督は、13世紀半ばという時代を再現する事に異様な執念を燃やしていたとしか思えなく、中世と同水準の先住民族などの文化を徹底調査し、道具なども当時と同じ素材・製法で作らせ、当時の人間たちと同じ視点に立って演じるように俳優たちに指示し、｢その役を生きる｣よう、548日間つまり１年半もかけて撮影したという。実は英Second Run DVD社版のソフトのレビューに画像をUPしているので、見てもらえば判ると思うが、いやぁ･･･俳優たちはマジで中世の人々に成りきっています(爆)。チェコ映画史上最高額の予算で、足掛け3年もかけて制作された。こういうところに、社会主義国家の映画の凄みを感じる。こんなのは商業映画では絶対ムリですねぇ(笑)。まあとにかく、この映画に滾る野蛮なエネルギーが凄まじい。本能を揺すぶられるようなポリフォニーの高鳴りと共に幕を開け、我々の内部に眠っている生命の根源みたいなものを、わしづかみにして引きずり出されるような、猛々しき映像の濁流。この肌触りは･･･ゲルマンの『神々のたそがれ』やズラウスキーの『シルバー・グローブ 銀の惑星』に通じる、本能の解放と狂気の行進だ。キリスト教に消毒されてしまう前の人類が持っていた、異教の昂ぶりをフィルムに焼き付けようとする恐れ知らずの試みだ。しかし、十字軍よりも後の時代でも、こんなに荒々しかったんだなぁ･･･「騎士」とか言ってるのに、甲冑なんか着てないし(笑)。鹿か何かの皮で作ったフード被った野盗みたいなオッサンなんだもん。これが盗賊騎士団か・・・。ホントにこの人たち、頭にシラミとか湧いてそうだよ(爆)。社会主義でもこんな映画が作れるっていうのが凄いよねぇ。ハリウッドの、お行儀のいい映画の小奇麗なセットではゼッタイ観る事ができない、穢いぐらいに存在感ありすぎな美術・衣装、マジで動物狩って捌いて焼いて食って生活してるんじゃないかと疑りたくなる、昔の人々が取り憑いたような俳優たちの演技、心かき乱す音楽、フラッシュバックなどの実験的演出が過剰にアヴァンギャルドすぎて、一度ではよく判らない素晴らしい演出(爆)、手持ちも多用し縦横無尽にドラマを映し出してゆくカメラワーク。生も死も聖も俗も性も欲望も憎悪も愛も英知も蛮性も血も肉も骨も皮も、みな一緒くたに握り潰し、白と黒のパノラマをスクリーンに現出せしめる。この昂ぶり、この陶酔、この猛り、この異形、これが『Marketa Lazarova』、必見の2時間45分だ！！画質は、もちクライテリオンならではの超高精細で文句なし。【特典】◆「In the Web of Time」('89)　フランチシェク・ヴラーチル監督のインタビュー含むドキュメンタリー　20分◆映画史家・Peter Hames氏のインタビュー　17分◆映画評論家・Antonin Liehm氏のインタビュー　9分◆「Marketa's Actors」　主演女優含む3人の俳優へのインタビュー　39分◆衣装デザイナー・Theodor Pistek氏のインタビュー　26分◆監督が描いたストーリーボード◆「On the Restoration」　レストア作業について、担当技師が語る　9分◆予告編‘80～’90年代は、日本は世界に冠たるアート映画天国だったのだが、最近はソフトの発売では欧米諸国の後塵を拝していると言わざるを得ない。本作も、京橋の国立フィルムアーカイブが所蔵している、おそらく国内唯一の日本語字幕版をのぞいては、日本で観る機会はほとんどない幻の作品だった。英Second Run DVD社と米クライテリオンなどのソフトで何とか観る事ができたが、ナカナカ難解な映画でもあるので、ようやく日本語字幕で大々的に上映される事に拍手喝采！オレだけの『マルケータ・ラザロヴァー』ではなくなってしまうのがチョット寂しい気もするが･･･(苦笑)。しかし、日本公開する以上は、ぜひ日本語字幕つきのBD＆DVDの発売を熱烈希望！ 配信なんかに負けるなよ(笑)！！

One of the greatest films I’ve seen. Btw, the echo effect in certain sequences was intentional on the part of the director. Some find it a little irritating, but I think it adds to the film’s eerie authenticity, as though those disembodied voices are crying out to us from the void.

This is one of the best films ever made. This is on pair with Tarkovsky's best works and it foreshadows what directors like Alexei German would do 50 years later. It's a psychedelic journey that can be a little confusing, but, the reason for that is that everything that is divine is a little overwhelming.The restoration is excellent, just what you would expect from Criterion.If I have to be honest, 5 stars is not enough.

Ich habe die dvd erst kürzlich geöffnet und wollte sie abspielen. leider musste ich feststellen, dass sie einen regionalcode usa aufweist und daher in europa gar nicht abgespielt werden kann.ich bin sehr enttäuscht, dass man darauf bei der bestellung nicht ausdrücklich hingewiesen hat. leider kann ich die ware wegen zeitablauf nicht mehr retournieren.beste grüße, hannes sereinig, wien.